CHAPTER V

RACTAS TREATED BY AHOBALA

In Safigitaparijata, Ahobala has described in detail about 125 giving under each, the notation of the same. According to him, ragas are innumerable, but he has describ­ ed only one hundred and twenty five for the sake of con­ venience. He has selected only such ragas which were popular, and were recognised in the particular regions, the tunes of which they represented, Ahobala himself "has not given any classification of ragas. But classification of ragas according to Thatas or Melas seems to have been in vogue in his time. Although he has not given any systematic classification of ragas, in some cases he mentions the Mela from which the has originated, such as, for example, Gaurimelasamutpanna,Kalyanamelasambhuta etc. The reason why Ahobala has not given a systematic classi. fication of ragas is not apparent. That would have facilitat­ ed better study of his ragas. It is not that he has been silent about the Mela topic altogether. He has given enough information about melas. He has defined Mela as group of notes capable of producing ragas (SP 329). Mela is a broader term than raga. Melas are too many. Ahobala has given their number as 113^0, Ahobala's contention has been referred to by Pandit Hrdayanarayana Deva in his Hrdayakautaka, when he

2lf6 2^7

said that tnelas were numerous, but for the purpose of his classification, he had taken only twelve. Ahobala states that oielas can be described not only with reference to Buddha notes, but also Vikrta or modified notes. This concept is nearer to the modern thata concept, which includes modified notes also. Further, Ahobala's melas are not only Sampurna, that is, hav­ ing all the seven notes, but also Sadava (having six notes) and Auduva (having five notes). In fact, a mela should have all the .seven notes, so that ragas resembling the same note struc- ture could be classified under it. Other authors of the medieval age who had accepted the theory of classification of ragas according to melas, had their melas of seven notes only. It is Ahobala alone who speaks of hexatonic and pentatonic melas also. There is one more thing Ahobala speaks about melas. He says that melas should be understood with reference to the initial (notes of the) Murcchanas (SP 330), Melas have been described in terms of their note structure, while the mention of the mlircchana in the description of the raga indicates the starting note of the raga; e,g, the mention of 'Dhaivatadi Murcchana' in the description of the raga Saindhava (V.357) indicates that the starting note of the raga for ascent is Dha. This is clearly seen from the prastara given by Ahobala below the raga. Ahobala has not given any description of any of the melas, the mention whereof has been made by him while 21+8 describing some of his ragas. From the survey of his raga chapter, it is observed that in connection with about 50 Per cent of his ragas, he has mentioned the melas, and about a similar number of ragas, he has not given the melas at all. The melas mentioned by him number about eighteen; they are: Suddha mela, Gauri, Mukhari, , , Kalyana, Varatl, Malava, Saakarabharana, Saranga, Kedara Velavali, Abhiri, Sriraga, Kambodhi, Samanta, Hindola and , None of these melas have been defined anywhere in Sangitaparijata, nor their note structure given. It is however possible to deduce the same from the note structures of the ragas classified under them. Whenever a raga of the same name of the mela, has been described with details of its notes, one may presume, that the notes structure of the mela is the same as that of the raga. Let us take the case of Gauri Mela, for example. In verses 366 and 367 description of ragini Gauri has been given, Gauri takes Komala Ri, Koraala Dha, Tivra Ga, Tivra Ni, Suddha Ma (Sa & Pa are fixed notes, with no modifications). Thus the notes of Gauri raga are Sa, Ri, Ga, Ma, Pa, Dha, Ni. On the basis of this, one may deduce that the notes of Gauri mela are also the same. Likewise, the description of other melas can also be deduced. But before proceeding to it, it is necessary to understand what notes have been used by Ahobala in describing his ragas. It has been seen earlier that Ahobala admits of seven Suddha and twentytwo Vikrta Svaras i.e. in all 2h9 y twentynine Svaras. He has described bis notes with reference to the twentytwo Srutis. Except the fourth Sruti Chandovati and 17th Sruti Alapini denoting respectively Sa and Pa which are immutable according to the theory followed by Ahobala, all other Srutis denote the Vikrta notes of Ahobala. Naturally, some of his Vikrtas overlap other Suddha notes (except Sa & Pa); for instance, his Vikrta note Purva Ga, standing on 7th Sruti Raktika overlaps Suddha Ri, which also stands on the same Sruti, Calculation of twentytwo Vikrtas would no doubt be a mark of scholarly achievement, but it must have certainly presented him with difficulties in describing his ragas. And he had to take recourse to the theory of elimination. He has stated that the ten notes Purva Ri, Tivra Ri, Tivratara Ga, Tlvratama Ga, Tivra Ma, Tivratama Ma, Purva Dha, Tivra Dha, Tivratara Ni, and Tivra Ni, have been dropped by him in the description of the ragas (V, U-97 to ^99). In this way he describes his ragas with seven Suddha and twelve Vikrta notes. Incidentally, it may be observed that the following five notes overlap the notes indicated against them:

Purva Ga - Corresponding to Suddha Ri Tivratara Ri - Corresponding to Suddha Ga Atitivratama Ga - Corresponding to Suddha Ma Purva Ni - Corresponding to Suddha Dha Tivratara Dha - Corresponding to Suddha Ni 250

Two more Vikrta notes Komala Ga and Komala Ni, corres- pond respectively to Tivra Ri and Tivra Dha, which have been already dropped by him. However, he has used Komala Ga and Komala in the description of few ragas (e.g. V. ^88 & ^90). Thus, if the overlapping of notes is taken into account, actually only 12 notes (7 Suddha and 5 Vikrta) are seen to have been used by him in describing his ragas. These notes, and their equivalents in modern Hindustani music, are as under:

Ahobala Current Hindustani Music guddha Sa Buddha Sa Komala Ri Komala Ri Buddha Ri Buddha Ri Buddha Ga Komala Ga Tivra Ga Buddha Ga Buddha Ma Suddha Ma Tivratara Ma Tivra Ma Suddha Pa Suddha Pa Komala Dha Komala Dha Suddha Dha Suddha Dha Buddha Ni Komala Ni Tivra Ni S'uddha Ni

There is one more thing to be known about Ahobala* s treatment of ragas. He has declared that he has dealt with his ragas in accordance with the Hanumat-Mata, or the theory 251 propounded by sage Hanurnat (V,333). Hanumat-Mata has actually appeared in connection with classification of ragas, into ragas, wives, sons and daughters-in-law. Ahobala has not given classification of his ragas in any form. Still he declares himself as the follower of Hanumat-Mata. Obviously there must be some other aspects of music also coming under the scope of the Mata, as for example the description of the ragas. The first raga given by Ahobala is 'Saindhava' (V,357). This raga comes from the Suddha Mela. Suddha mela, like all other melas referred to by him, has not been described any where. It can hew ever be ta}cen for granted that the mela which takes all Suddha Svaras is a Suddha mela. Leaving aside Sa and Pa which do not admit of any modification, other notes viz, Ri, Ga, Ma, Dha, Ni are Suddha in this mela. Now, the Suddha Ga and Ni of Ahobala (who follows Locana in this respect) are the modern Komala Ga & Ni. Accordingly, the Suddha Mela of Ahobala, like that of Ragatarangini of Locana, will be Sa, Ri, Ga, Ma, Pa, Dha, Ni, i.e, like modern Thata. Thus Raga Saindhava will have Ga and Ni Komala as per modern tera inology, and other notes Suddha. Other details given are: It is Purna, i.e, taking all the seven notes. Even then in Aroha it drops Ga and Ni, It is endowed with repetition of notes and Sphuritd, Gajnaka. It is sung any time of the day. Its Murcchana begins with Dha, That means, the 252

Graha (the starting note) of the Riga is Dha. In accordance with fflodern practice, the Aroha and Avaroha of the raga vail be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. (The same practice of giving Aroha and Avaroha of the ragas in accordance with the modern equivalent notes of Hindustani scale has been followed throughout in this chapter to facilitate clearer understanding.) Repetition of notes, like for example. Pa Pa, Dha Dha, etc. is its peculiarity. It en­ hances the pleasure of the raga. Sphurita Gamaka admits of forceful repetition of notes. That is why the raga is qualified as ' Amreditasvarairyukta' and 'Sphuritena sobhita*, Hrdayanarayana Deva, who also flourished in 17th century a little after Ahobala, has mentioned both Suddha mela and Raga Saindhava exactly on the lines of Ahobala, Srinivasa has also mentioned Saindhava as derived out of Suddha mela. Bhavabhatta who flourished in l8th century and has quoted Ahobala in many places in his books, has not men­ tioned Raga Saindhava. It has not also come down to the modern age. Hov/ever, the modern raga Sindhura may be found to be similar to it. Apparently it was not so much an im­ portant and famous raga in his days too. Matariga and Sarrigadeva have described a Bhasa raga by name Saindhavi. But that Bhasa has nothing to do with the raga Saindhava; nor does the latter ovre any relationship with the former. Pandit Daraodara describes Ragini Saindhavi as having Sa as 253

Graha, Atiisa, Nyasa, with its Murcchana Uttaramandra (Sadjadi). It is Sarapurna, but some describe^^as Sadava, dropping Ri, It is employed in Vira rasa, Ahobala has given six other ragas as arising out of Suddha mela. They are: Nilatnbari, Malavasri, Maru, Manohara, Manavi and Tailanga. There are some ragas for v/hich he has not given the melas, but out of these, some can also be classified under Suddha mela, as for example Dhanas'ri, which he has given as 'Suddhasvarairyuta* - consisting of all Suddha notes only, Raga Nilambari (V. 362-63) is Sampurna i.e. taking all the seven notes. Its Murcchana begins with 3a; Pa, Ga and Sa are its Amsa i.e. the dominating notes, and Ma, Ri, Ni, the nyasa i.e. ending notes. That is to say, when Pa is the Amd'a, the Nyasa is on Ma; when Ga is the Amsa, the nyasa is on Ri; and when Sa is the Am^a, the nyasa is on Ni, There is a glide from note Sa to note Pa and from note Pa to note Sa. The beauty of the raga lies on the tremor on notes. Being a raga of Suddha mela, its notes correspond to those of modern Xafi thata. There are no omissions of notes in Aroha or Avaroha, hence the ascent and descent are straight as Sa, Ri, G_a, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Incidentally the giving of three notes as Amsa notes and three as Nyasa notes would indicate that three forms of the raga were in vogue in his time. 25V

Locana Kayl gives Raga Nilaiabari as belonging to Bhairavi mala (Saasthana). But his Bhalravi Samsthana is the same as the »^uddha mela* of Ahofeala, In fact the latter has apparently been modelled on the former. There is no difference in the description of the raga Nilsrabari of the two books. Hrdayanarayana Deva's Buddha mela includes raga Nilimbari, along with the other two, Bhairavi and Saindhava. Hrdayanar^ana Deva follows Locana and Ahobala and his Suddha mela is the same as that of Locana and Ahobala, i.e. corresponding to modern Kafi thata. His des­ cription of raga Nilarabari is practically on the same lines as that of Ahobala. Srinivasa also gives a similar descrip­ tion of the raga. Next raga of Buddha mela dealt with by Ahobala is Malavas'ri (V.36if). In Raga Malavas'ri, Ri is dropped. The raga is hexatonic, i.e. Sadava, Its Graha, i.e. starting note is Ma, Dha is Amsa, and Pa is Antya i.e. Nyasa. If Dha is its Ams'a i.e. Vadin note, its Saavadin note should be Ri, Ri is however, absent in the raga. In terms of Aroha- Avaroha, the structure of the raga will be thus: Sa, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Sa. No other speciality of the raga has been given, Raga Malava^ri has been described by a number of musicologists. According to one view called as the view of Bharata (who is not of course Bharatamuni of NS), it belongs 25^ to Sriraga raela; but 'Sangita-damodara' classifies it as a ragini of Malava raga. Sivafflata classifies it under Sriraga raela and describes it as a ragini, with Sa as Graha, Ams''a and Nyasa. Nl also can become its Graha and Ams''a. It takes all notes. Ri and Dha are less used. This raga is generally sung in the beginning in an auspicious function or celebra­ tion. It can be sung any time of the sacoe day. Sarrigadeva describes Malavasri as arising out of Raga Malavakaislka, having both Tara and Mandra Sadja (i.e. having a range from Mandra Sa to Tara Sa), and with Sa as Am^a and Nyasa. Sarrigadeva's Malavasri is Samasvara, i.e. taking all notes evenly, without Alpatva or Bahutva of any note, Ragatararigini has given the name of the raga as MitLasri and not Miilavas'ri, and has stated that the raga arises out of Gauri Mela. At the same time he has stated that Malasri is a Saikara raga risen out of the combination of Mallara and Madhunj'adhavi, These two descriptions of the same raga given by the same author are conflicting as the note structures of Gauri, Mallara and Madhumadhavi are quite different. ^rinivasa has given the description of the raga exact­ ly on Ahobala's lines. There are still a number of authors who have described Malavasri differently in their own ways. There is no uniformity in the description of the raga by different authors. Pundarika Vitthala, in his Sadragacan- drodaya, has given Malavasri as belonging to i^riraga raela; 2% but in his next book Ragaraan'jari, he has mentioned it as the Ragini of Suddha Nata raga. In Rasakauraudi of Srikantha, it has been classified under Sriraga, but his Sriraga is like modern Kafi thata. That means, his classification of Malavasri corresponds to that of Ahobala. Raga Mgilavas'ri has also been mentioned in Karnataka Sarigita by renowned authors like Ramamatya, Soraanatha, etc, but its mela has been given as Sriraga mela and the note structure is also quite different, Raga Manavi (V,^-85) arising out of Suddhamela, has been described in brief; when in Raga Saindhava Ni is taken in Aroha, it becomes Manavi. Saindhava drops Ga and Ni in Aroha; here Ni is taken and only Ga is dropped. The raga thus becomes Sadava-Sarapurna with its layout as Sa, Ri, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, G_a, Ri, Sa. The raga is sung at any time of the day. Another Suddhamela raga is Manohara. (V.^81-82), Being a raga of Suddhamela, notes are the same as given in respect of the mela. Its other special features are: It is Sadjadi, i.e. Sa is its Graha. In Aroha it drops Ri, Ga, Ma. There is a swing on the notes Sa and Ra, which are its main notes. The movement of notes is not straight but 'Vakra' , as for example, starting from Sa and rising upto Dha and again returning (to Sa); rising from Pa to (Tara) Sa and returning to Ma; swinging from Ma to Ga and steadying on 257

Ri: etc. Ragatattvavibodha of Srinivasa has given one more feature, viz. rising upto Ni and returning to Ma. In short entire raga calana is twisted. However, dropping of three consecutive notes in Aroha is difficult to understand. Rakti or melodiousness is the soul of a raga. Dropping of three consecutive notes in Aroha will definitely present diffi­ culty in tana improvisations, and will thus to detrimental to the aesthetics of the raga. In Gandharva and later music, a raga of less than five notes is not at all contemplated. Here the Aroha shows only four notes, i.e. a Svarantara type of Vedic music. Anyhow, since it has been given as that, a raga of that typ^ must have been in practice in those days, although it is not clear whether singers of those days were finding any difficulty in its presentation. Raga Maru (V.^7^-75) is another raga classified by Ahobala under s'uddhasvara mela. The notes of the raga have not been specified, but since it is arising out of Suddha- mela, all notes are Suddha. s'uddha Ga and Ni, according to Ahobala's Suddha scale are Komala Ga and Ni of Hindustani music. Its Graha is Ga, It drops Dha in Aroha. There is a swing on the notes Dha and Ni. The raga is more pleasing with the graces or Gamakas named Agrasvasthana and Punahsvasthana - going to the earlier note and returning to the original note in one case, and going to the note ahead and returning to the original note, in another. Further the note Ga in this raga is also to be taken with Cyavita Garaaka, 2^8

The Aroha-Avaroha of the raga will be - Sa, Ri, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. l^rinivasa has described the raga similarly, Locana Kavi and Hrdayanarayana Deva have given Raga Maru as belonging to Karnata mela, which is like modern Khanaja Thata. Pundarika Vitthala in his Ragananjari has given Maru as arising out of Gaudi mela, a pentatonic raga dropping Ri and Dha. In his Sadragacandro<^a, he has given a raga Marava under Malavaga^daoela and in RagaiaaLa, Maravi as a Bharya of Buddha Bhairava. Of the Karnataka musicologists, none has given Maru, Tulaja has however mentioned one raga Maruva, under Malavagauda mela. The raga does not appear to have been treated in ancient music. Raga Tallanga (V. U-89) ofSuddhamela is a pentatonic raga, dropping two notes Ri and Dha. Ga is the dominant note. Ri is in fact a dissonant note, but sometimes it is taken slightly in the Tara Saptaka. It is somewhat like modern , We have so far seen the iSuddha Mela ragas. Now we shall see the Bhairavi (V,37^) mela ragas. The Bhairavi mela of Ragatarangini, Hrdayaprakas'a, Hrdayakautuka, and some other authors of medieval age is like that of the Suddhamela of Ahobala. But Ahobala's Bhairavi is altogether different. Sa is its Amsa, Graha and Nyasa. Dha is Komala. Next two lines of the verse 37*^- do not appear to have been properly worded. As per the existing wording, the meaning would be: 259

With ascent from Rsabha, the Nyasa will be on Pa and with ascent from Paficaraa, it will be both on Pa or Sa. However, the descent will be from the note Sa only. It is always pleasurable. The real description of the raga has to be shown by the notes it contains. In the description of Bhairavi only one thing is given, viz. Dha is Koraala. It has to be deduced that other notes are eCLl Suddha i.e. original. Thus, the note structure of the raga will be: Sa, Ri, Ga, Ma, Pa, D_ha, Ni, Sa. Locana Kavi's Bhairavi niela or raga takes all Suddha notes. About taking Komala Dha by some musicians, he has said that taking Komala Dha in Bhairavi is incorrect. That raga would not be quite melodious. It seems taking Komala Dha in Bhairavi raga was an alternative practice in his days. By Ahobala's time Bhairavi with Komala Dha must have been much in vogue than the other Bhairavi. Ahobala's Bhairavi resembles modern thata. Modern Bhairavi is altogether different. It takes all Ri, Ga, Dha, Ni, Komala. There is a Bhairavi raga in modern Karnataka music also; but it sounds like of the Hindustani system.

Under Bhairavi mela, Ahobala has classified two more ragas - Siraharava (V,^78) and An and a-bhairavi (V.^83). In Siraharava, Ga is altogether dropped. In Aroha, Ni too is dropped. Thus it is Auduva-Sadava. Its notes will be: Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. There is also raga Siraharava in Venkatamakhin's ' Caturdandi-prakasik'a' • • • 260

The raga, belonging to the mela of the same name, is the innovation of Venkatamakhin, The note structure is quite different from that of Ahobala's raga. It takes Sa, Panca^ruti Ri, Sadharana Ga, Varali Ma, Pa, Panca^ruti Dha and Kaisik Ni, corresponding to modern Hindustani notes Sa, Ga, Ga, Ma, Pa, M, Ni, There is absolutely no similarity in the Siriiharava ragas of the two authors. Venkatamakhin flourished in early 17th century. It is likely that Ahobala may have had an access to his Caturdandi-prakas'ika and he took a fancy for this raga, and adopted it to his Hindustani system under Bhairavi mela. Ahobala made it Hindustani raga, by what was then known as 'Kainacarapravartitvanyaya' , or the theory of making conversions or modifications according to the musician's ov/n ideas or convictions. Anandabhairavi (V,^83) is 'Bhairavisvarasambhuta i.e. taking all notes of Bhairavi, viz, Sa, Ri, Ga, Ma, Pa, Dha, Ni. Nisada is its Graha, and Gandhara is to be taken with low volume. Raga Anandabhairavr has not been mentioned by Srinivasa, although Simharava has been mentioned. Next important mela treated by Ahobala is Gauri Mela, He has given about eighteen ragas as arising out of this mela. The note structure of Gauri raga is the note structure of Gauri mela. In Raga Gauri (V, 366-67), Ri, Dha, are Komala, and Ga, Ni, are Tivra. So the note structure of Gauri mela is Sa, RJ,, Ga, Ma, Pa, Dha, Ni. The starting note of Raga Gauri is Ri, In Aroha it drops Ga and Dha, So 261 its Aroha will be: Sa, Ri, Ma, Pa, Ni, Sa i.e. pentatonic. Ga is taken sometiuies in Aroha. Then its Murcchana will be sta:rting with Ma i.e. Ma will be the starting note. Gauri with Ga taken in Aroha resembles modern Bhairava. Riga Gauri has been dealt with by many authors. The notes of the mela and the riga given by Locana Kavi in Ragatarangini, Srinivasa in Ragatattvavibodha and Hi'daya/- narayana Deva in Hrdayakautuka, are the same as those given by Ahobala. Hrdayanarayajna Deva has mentioned Antara Ga and Kakali Ni, which makes no difference since they are equivalent to Tivra Ga and Tivra Ni respectively. In his Hrdayaprakasa he has stated that the raga drops Ga in Aroha, similar to the alternative given in Parijata, The description of Gauri given by Pandit Catura Dimodara is altogether different. Its Graha, Amsa and Nyasa isSadja. It drops Ri and Pa. Its Miiircchana is the first one, i.e. Uttaramandra, Sadjamurechana of the Sadjagrama. Notation of the raga given by him is Sa, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, ^Sa. Notes are all obviously Suddha, in the absence of anything given otherwise, Pundarika Vitthala, in his Sadragacandrodaya, has given a raga by name Gaudi and not Gauri, under Malaveigauda mela. However, in his Ragamala, he has classified the same under Sri raga mela. Again, in his third book RagamaiTjari, he has given it as the Ragini of Riga Bhairava, Tulaja has given Gauri as a raga under Malavagauda mela. The Malavagauda mela 262 of Karnataka music is like the Bhairava thata of Hindustani music. In the other important books on Karnataka music, viz, Svaramelakalanidhi, Ragavibodha and Caturdandiprakasika Raga Gauri has not been mentioned. However, Ramamatya has raen- tioned a raga Gauli belonging to Sriraga raela. His Sriraga mela contains Sa, Pancas''ruti Ri,Sadharana Ga, Ma, Pa, Paffc is'ruti Dha, and Kaisika Ni. Gauri has not also been mentioned in Sangitaratnakara of Sarrigadeva. Modern Gauri of Hindustani music is similar to that described by Ahobala, with Ri, Dha, Komala and the rest Buddha svaras, and has been classified under Bhairava thata. Modern Gauri in South Indian music is the same as that described by Tulaja, Sarrigadeva has mentioned two types of Gaudi (not Gauri). One type of Gaudi has been described as a Bhasa of Hindola, with Sadja as Ams^'a, Graha, and Nyasa, void of Ri and Dha and rich in Gamakas arising out of the note Pa. Mandra Sadja is its special feature. It is used in Priyasambhasaria i.e. talks with beloved ones. Another Gaudi described by him is a Bhasa of Malavakais'lka. Here too Sa is Graha, Amsa and Nyasa. Its range is from Mandra to Tara Sadja and Nisada is taken very often in this raga (as said by Matariga), Its main sentiment is Vira rasa on fighting field but some musicologists use it for depiction of only Vira rasa in general. Nanyabhup'ala has given a raga Golli, with Dha as Graha, Amsa and Nyasa, rich in Tara Sa and Ri and Ga and Ni 263 dropped, Matanga has not given any such raga. Next raga given by Ahobala under Gauri mela is raga Mallari (V.368). This is quite different frora the raga Mallara described in V.36O. Ni is dropped here altogether, Ga is dropped in Aroha. Its Graha is Sa. Thus it is Auduva- Sadava. Its Aroha-Avaroha will be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Dha, Pa, Ma, Ga, Ri, Sa» Locana has not given any raga Mallari under his Gauri Samsthana, nor has Hrdayanarayana Deva given it, d'rinivasa has given the raga under Gauri Mela. Some say that Ahobala's Mallari of Gauri raela some­ what resembles modern MeghararTjani which rises from Bhairava raela. But the socalled Megharanjani drops Pa and Dha and has apparently no resemblance with Mallari,

Lalita (V,^13) is another raga arising out of Gauri Mela. Pa is dropped here, that is, the raga is S^adava, Its Amsa and Graha is Sa and Nyasa is Ma, This raga is more melodious at the conclusion of singing. This is the only description of the raga given by Ahobala. The Aroha-Avaroha of the raga will be - Sa, Ri, Ga, Ma, Dh^a, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Ri, Sa. Lalita given by Catura Damodara is Auduva, dropping Ri and Pa, with Sa as Graha, Amsa and Nyasa, and has Suddhamadhya Murcchaha, In the absence of any information, other notes have to be taken as Suddha, That is to say, its Dha is Suddha and not Komala. So this Laliti is different from that of Ahobala. Locana Kavi and Hrdayanarayana Deva give Lalita as belonging to Dhanas'ri 26^

Mela, which has Ri and Dha Koraala, Ga and Ni Tivratara and Ma also Tivratara. Srinivasa's description of Lalita is on all fours with that of Ahobala. Pundarika Vitthala in his Sadragacanilrodaya, classifies Lalita under ^uddhararaakri Mela. In South Indian music also Lalita is classified under Suddharamakri mela, as is seen from Ragavibodha which has given it as Pa-Vihina i.e. void of Pa, Notes of Suddha­ ramakri mela given by Ramamatya and Soraanatha are Sa, Ri, Mrdu-Ma Ga, Tivratama Ma, Pa, Dha, Mrdu-Sa, Ni. Verikata- makhin's Ga is Antara, Ma is Varali, and Ni is Kakali, but that makes practically no difference. The point to be noted is that Ma of South Indian Lalita is Tivra and not Suddha Ma. In this way this Lalita is a bit different from Ahobala's Lalita. Pundarika Vitthala's Ragamala classifies it as Putraraga of Ded'akara. Modern Lalita is void of Pa and takes both forms of Ma. It can be said to be a combinational raga, from those of Ahobala and Soraanatha. Ahobala's Lalita can thus be said to be closer to modern Lalita. Ahobala's Lalita is'Sarvadageya'. Modern Lalita is sung in early morning. This justifies both varieties of Ma in it. Next Raga of Gauri Mela given by Ahobala is Bahula (V.^1^). It drops Ma. Ga is Graha and Pa Amsa. Another qualification given by the author is 'Sa-viyogi-Ni na Yukta'. This wording is not free from ambiguity and admits of . alternative interpretations. On the face of it, it would mean that Ni in this raga will not be taken in combination 265 with Sa; that is, there will not he any combination as Ni-Sa or Sa-Ni. In that case, the Aroha-Avaroha of the raga will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Dha, Ni, Pa, Ga, Ri, Sa, ^rinivasa, has given a raga Bahuli and not Bahula, He has described it as a raga with Gaurl notes, with Dha and Sa as Graha notes, dropping Ma altogether and also dropping Ni in Aroha and having Pa as Amsa note. Locana Kavi and _ _ Ba-Wu,U _ Hrdayanarayana Deva have given " ' . as a raga of Gauri mela. All these descriptions generally agree with that given by Ahobala. Pundarika's Sadragacandrodaya has not mentioned the raga. However, in his Ragamala, he has given it as a Bharya of raga Des'akara. The description given by him differs from that of Ahobala and others mentioned above. Srikantha has included Bahuli under Malavagauda mela, which is akin to Bhairava thata and notes whereof are more or less similar to Ahobala's Gauri thata. The authors of Karnataka music, Ramamatya, Somanatha, Verikatamakhin, and Tulaji have all included raga Bahula under Malavagauda mela. Apparently the raga is initially a South Indian Raga adopt­ ed by North Indian music also. Raga Bahuli of Somanatha is Auduva, dropping both Ma and Ni. Kaumari (V.^l?) is another raga of Gauri mela given by Ahobala. Dha is its Graha, Amsa, and Nyasa. Its beauty lies in the tremor of notes. It is a complete (Sampuratha) raga. This raga has not been given by any of the other 266 important authors of North Indian or South Indian music. It may be a raga of some local importance only, which perhaps Ahobala thought of taking notice of, Reva (VAl8) raga, given by Ahobala under Gauri mela, has Sa for its Graha. It drops Ma and Ni and is thus a pentatonic raga. Combination of notes like Ga-Pa, Dha-Sa, etc, is its special feature. Its Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Dha, Pa, Ga, Ri, Sa. This sounds like modern Bibhasa, Description and classification of this raga given by other authors like Locana Kavi, Hrdayanarayana Deva, Srinivasa is similar to that given by Ahobala. Damodara Pandit says that the raga Reva is like raga ; and Gurjarl has been described by him as having Ri as its Graha, Amsa and Nyasa and having seventh i.e. Rsabha Murcchanas; (viz, Abhirudgata). This description i s different from that of Ahobala's. It is not a South Indian raga, since none of the South Indian musicians has given it, Raga Gaula (V.^19) arising out of Gauri mela, is void of Ga and Dha,' Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa, will be its Aroha-Avaroha. It is an unimportant raga, not mentioned by other authors except Srinivasa, who too has not gone beyond Ahobala's description. However, its variety, (V.^20) has been given in bit detail, Ahobala's Kedaragaula takes Tivragandhara and has Rajani Murcchana, Its special feature is the Ri-Pa combination. 267

It is a Sanjpurna raga. Rajani Murcchana is the murcchana, starting with Ni, (Ni, Sa, Ri, Ga, Ma, Pa, Dha). It means Ni is the starting note in this raga. Ahobala has given Kedaragaula as a Gaul a variety, obviously belonging to Gauri raela. He has given its alternative formation as hav­ ing Ma-Pa combination. Pa as Amsa (sometimes Ri also as Arasa), and dropping Ga and Dha in Aroha. Its Aroha-Avaroha would be thus Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma,

/• — _ _ Ga, Ri, Sa. Srinivasa however gives this raga as arising out of Sriraga raela, with Ni as its Graha, Ri as Myasa and Sa and Pa as Ams^'a notes, dropping Ga and Dha in Aroha, This description of the raga differs from that of Ahobala's. Ragatarangini, Hrdayaprakasa, Hrdayakautuka, Sangitadarpana etc., have not mentioned this raga. Sadragacandrodaya has mentioned Gauda (not Gaul a) and its varieties, but not Kedaragaada. Tulaja and Venkatamakhin have mentioned Kedaragauda as arising out of Kajnboji mela, Kamboji mela is altogether different from Ahobala's Gauri mela. Gauda or Gaula seems to be an ancient variety, and has not gain­ ed popularity in Hindustani music. Sarngadeva mentions four varieties of Gauda-Karnatagauda, Des'avalagauda, Turuskagauda and Dravidagauda. His Des'avalagauda is the same as Kedara- — — — ' gauda. Ramaraatya has given its notes as Sa, Ma, Pa Suddha; Ri, Dha Pancas'ruti; Ga, Ni as Tivra. It is a raela with him. The raga has been taken in Karnataka music from the ancient music and it has not gained popularity with Hindustani music. 268

Malavagaula (V.^28) is the next raga given hy Ahobala as originating frora Gauri tnela. It drops Dha altogether and Ga in Aroha. Its Graha is Ri. If however Gandhara is taken in Aroha, Pa becoraes its Adi that is Graha and Ma its nyasa. Its Aroha Avaroha will be Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ga, Ri, Sa. Malavagaula (MaLavagauda) is also a raga raela in South Indian music. It has not been given by other authors of North Indian oausic, except Srinivasa and Pundarika, Asavari (V.U-U-2) raga is another raga under Gauri fflela. It drops Ga and Ni in Aroha, Ma is its Graha, Dha Ams'a and Pa its Nyasa. Its Aroha-Avaroha will be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, RJ., Sa. This sounds like modern . Srinivasa has given the raga as Savari and not Asavari, Hrdayanarayana Deva has given the notation of the raga as Ma, Pa, Dha, Sa, Ni, Dha, Pa, Ma,Ga, Ri, Sa;that is, there also ^feh-e Ga, Ni are dropped in Aroha. Both Hrdayanarayana Deva and Locana Kavi, have given the raga as belonging to Gauri mela, Gatura Damodara has given the raga as , which is void of Pa and has Dha as its important note. Ahobala has given Saveri as a different raga. Somanatha's Asavari hails from Malavagauda mela and has Ma as its Graha and Ams'a and Sa as Nyasa. Tulajaji has gi«n the raga as Saveri. In South Indian music the Raga Asavari (Saveri) hails frora Milavagauda mela. The raga has come down to modern music, but its notes have changed. Modern 269

Asavari takes Ga, Dha, Ni, Koraala and Ri s'uddha (Sa, Ri, Ma, Pa, Dha, 3a, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa). In the modern music, it is a thata (mela) by itself and the raga belongs to that thata, Pahadi (V.U-U-S) is another raga arising out of Gauri mela. Sa is its Graha. Ri is its Nyasa and Amsa. Ga is dropped altogether in this raga, hence it isSadava. Its Aroha-Avaroha will be - Sa, Ri, Ma, Pa, Dh_a, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Hi being its Vadin Dha is its Samvadin. Srinivasa describes the raga as Nyasamsapa-Ri- sobhita; i.e. Pa and Ri will be its Nyasa and Amsa respec­ tively. Rest of the description of the raga is as given by Ahobala. Damodara gives his Pahadi as having S.a as its Graha, Atis^'a, Nyasa, and void of Ri and Pa, like his Gauri raga. In its Alapa it has the shade of Tailanga region - that is to say, in its Alapa form, the raga appears to be of Karnataka music. Locana Kavi and Hrdayanarayana Deva give the raga as Pahadigauri derived from Gauri mela. The latter's Pah"adigauri does not drop Ga, as is seen from the notation given by him - Sa, Ri, Ma, Dha, Pa, Ma, Ga, R_i, Ma, Ga, Ri, Sa. Raga Pahadi is not spoken of in Karnataka music. But it speaks of one raga Padi belonging to Malava- gauda mela. Pahadi of modern Hindustani music is a raga belonging to Bilavala thata,

Purvl (V,^i+9) is one more raga given by Ahobala as arising out of Gauri mela. Sa is its Graha and Ga, Nyasa 270 and Ansa, It is a Saapurna variety. Ahobala says that at the end of Tana, Vikarsana Gamaka has to toe taken on Ga note. VikarjKsana grace has been stated by him as occurring when in the place of a particular note another note is dragged. Srinivs^a gives the raga as Purva, Raga Purva of Locana Kavi and Hrdayanariyana Deva conies from Purva Samsthana (mela). Purva mela takes the following notes Sa, Ri, Ga, Ma, Pa, Dha, Ni, This Purva is altogether different from the PiirvaL of Srinivasa or of Ahobala. In Kamataka Sanglta the raga Purvi has been given as arising out of Malavagauda mela. Pundarlka Vitthala in his Sadragacandrodaya has also given his Purvi as belonging to Malavagdtada mela. In his Ragaman^arT he has given it as belonging to Gaudi mela. Purvi in modern Hindustani music is a raga belonging to Purvi thata, taking Ri and Dha Komala and both forms of Ma. After Purvi Ahobala has given raga Mangalako/a (V.^+52) as belonging to Gauri mela. In describing the raga he says that Dha is its graha, Amsa and Nyasa. Hence its Samvadin isRi. It is a Sampurna raga, an(JDha, Ni here come in com­ bination, like Dha-Ni, Ni-Dha. Authors like Locana Kavi, Hrdayanarayana Deva, Daraodara, Pundarlka Vitthala, have not given this raga. Srinivasa has given the raga Mangalakau^ika, with description similar to that of Mangalakoi^a of Ahobala, Out of the South Indian musicians Ramamatya and Tulajl. have given the raga Mangalakai/ika as derived from Malavagauda mela. 271

Next raga of Gauri raela is Nadaramakriya (VA53). Ma is its important note. Sa is Graha and Nl, Nyasa. In Aroha it drops Ga. Its Aroha-Avaroha vdll "be Sa, Ri, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Locana Kavi and Hrdayanarayana Deva have not given Nadararaakriya, but they have mentioned Ramakari/Ramakali under Gauri mela. Daraordara has also given a raga Ramakari and not Nadarajnakri. This Rainakali too has no semblance with Ahobala's Nadaramakriya, There are different presentations of Nadaramakriya in South Indian music. Ramamatya's Nadaramakriya is a raga under a mela of the same name. Its notes are Suddha Sa, Ri, Ma, Pa, Bha, Cyutasadjanisada and Sadharana Ga, equivalent to North Indian music notes Sa,Ri, G_a, Ma, Pa, Dha, Ni, Somanatha has given Nadaramakri under Nadaramakri mela, with notes similar to modern Hindustani notes, Sa, Ri, Ga, Ma, Pa, Dh^a, Ni, Venkatamakhin gives the raga as belonging to Gaula mela, with notes as Sa, Ri, Antara Ga, Ma, Pa, Dha, and Kakali Ni, Tulajaji gives the raga under Malavagauda mela, which is equivalent to Bhairava thata of North Indian music, Pundarika Vitthala in his Ragamanjari and Sadragacandrodaya shows the raga Nadaramakri under the mela of the same name. However, in his Raga-raala, he gives it as a Bharya of Sriraga. The raga is not found in ancient music, nor in modern Hindustani music (in modern Hindustani music there is raga Ramakali); however it finds a place in the modern Karnataka music. 272

Trivani (V.^^9) follows next, as a raga of Gauri mela. It is complete in Aroha and drops Ma in Avaroha. Sa is its Graha; and Ri, Arasa. Its Aroha-Avar oh a will be Sa, Rl, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ga, Ri, Sa. Locana has given it as raga Trivani, under Gauri mela. It has been given there as a ragasarikara (combination) of Gauri, Lalita and Desakara ragas. Hrdayanarayana Deva also gives it as raga Trivani, under Gauri mela. There the raga has been given as pentatonic, dropping Ma, Ni, and with Ri as its Graha, Srinivasa gives as Trivani, with description similar to that of Ahobala* s Trivani. Damodara has given Trivani as a pentatonic raga, dropping Ri, Pa and v;ith Dhaivata as Graha, Amsa and Nyasa. Pundarika in his Sadragacandrodaya gives a raga Travani under Suddhar"ajiiakri mela. However in his Ragamala he gives a raga Travana as a Putra raga of Raga Desakara. In RagaraaiToari too he includes Travaiii under Desakara mela. Out of the trio of south Indian music, Somanatha gives a raga Travani under Suddhararoakri mela. Notes of Suddharamakri mela, in terras of Hindustani system, are Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa. Others including Tulajaji do not appear to have mentioned this raga. There appears a similar raga in ancient music also. Brhaddesi gives a raga Travana as a Bhasa raga of Takka, a gramaraga. Sarrigadeva too, has given Travana as a Bhasa of Takka. Kallin"atha has given details of this Bhasa" as follows: 273

Sadja is its Graha, Amsa and Nyasa. It does not take Ri and Pa. It takes Mandra Sa, Tara Ga^and Ma, and is predominant in Sa, Ni and Dha, It is employed in Vira rasa and is sung in the evening. He has also given another Travana as a Bhasa of Bhinnasadja. Here also Dha, Ni, Sa are used li- berally. Dha is its Graha, Amsa and Nyasa. This Travana also drops Ri and Pa; Valita Gamaka adds grace to this. Ga and Ma here are from Tara Saptaka. Both these Travanas are more or less similar, Sarrigadeva has also given one Travani as a Bhasa of raga Pancama, having Sa as Graha and Amsa, Pa as Nyasa, abundant use of Sa, Ri, Ma, Pa and combination of Ga, Ni (two i^ruti notes). Nanyabhupala speaks of Travana as a Vibhasa of Bhinnasadja with Dha as Amsa, dropping Ri and Pa. He also gives one Trapana which is a Bhasa of Takka and this also drops Ri and Pa. It would appear from the above discussion that raga Trivani of Ahobala, has come down upto his period from the ancient period, but it has undergone considerable changes both in its form and its name. The raga has not however come down to modern music in any form, both in Hindustani as well as Karnataka systems. Another raga of Gauri raela given by Ahobala is •S vJL.-r ct. La. y Ok,. (V.^66). Nisada is its Graha. In the absence of the mention of Amsa and Nyasa, Sa is its Amsa and Nyasa. Dha is 27^ dropped. Ri Is dropped in Aroha. Thus it is Auduva-Sadava, Its Aroha-Avaroha will be; Sa, Ga, Ma, Pa, Ni, Sa, Sa, Ni,Pa, Ma, Ga, Ri, Sa. Except Srinlvasa, none of the authors of the medieval period has given this raga. The raga does not figure in ancient music. Next comes raga Arjuna (V.^7) arising from Gauri mela. Ga is its Graha. It drops Ma, Ni, in Aroha and Ga, Dha in Avaroha. Thus it is an Auduva variety raga. Its Aroha-Avaroha will be Sa, Ri,Ga, Pa, Dh_a, Sa, Sa, Ni, Pa, Ma, Ri, Sa. This raga too, like Suralaya, has not been given by any authors of the medieval period, except Srinivasa. These ragas do not also find a place in the Karnataka system of music. The last raga of Gauri mela given by Ahobala is Sarvari (V.^87). Sa is its Graha and Nyasa; Pa, kmsa. At times Nyasa is also on Ni, This is a Sampurna raga. This raga has not been mentioned by any medieval authors, includ- ing Srinivasa. Another mela treated by Ahobala is Mukhari. The note structure of Mukhari given by him is thus: Ri Komala, Ga Purva, Dha Komala, Ni Purva. However, Purva Ga and Purva Ni are the same as sWdha Ri and Suddha Dha respectively. Hence the note structure of the mela would be Sa, Ri, Ri, Ma, Pa, Dha, Dha, i.e. taking both forms of Ri and Dha viz. Komala and Suddha. According to basic principle in relation to Hindustani music, two formations of the same note cannot be 275 taken consecutively in a raga. In modern Hindustani rausic, barring some exceptions here and there, like for example, Lalata taking two forms of Ma consecutively, there is no raga taking two forms of the same note together. In South Indian music however, such a system seems to be prevalent. Mukhari, in South Indian music, is the time-old basic or fundamental or Suddha scale, taking all Suddha Svaras which correspond to the notes shown above. Some scholars opine that Ahobala initially belonged to South India, and had a considerable knowledge of South Indian music, although he wrote his book on Hindustani system of music and was acknov/ledged as a North India musicologist. Evidently, there was some influence of South Indian rausic on him, as would be apparent from the in­ clusion of Mukhari mela and ragas classified under it, in his work.

There are only two ragas included by him under Mukhari mela - Mukhari and Sivavallabha. In raga Mukhari (V.373) Dha is graha, Sa Nyasa and Pa Amsa. In Aroha, Ga and Ni are dropped. Aroha-Avaroha of the raga would be - Sa, Ri, Ma, Pa, Dha, Sa, Sa, Dha, Dha, Pa, Ma, Ri, Ri, Sa. Raga Mukhari has not been given by Damodara, Locana Kavi has given Raga Mukhari as belonging to Mukh"ari mela, with notes Sa, Ri, Ga, Ma, Pa, Dha, Ni. His Mukhari is quite different from that of Ahobala and resembles modern Asavari. Pundarika Vitthala has given Mukhari under Mukhari mela. In RagamaiTjari, he 276 has given its details as follows: Sadja is its Graha, Amsa and Nyasa; it is Sarapurna and sung at all times. Hrdayanarayana Deva has given Mukhari as having Dha Komala and rest all Suddha Svaras. In his system, Suddha Ga & Ni are the same as modern Komala Ga & Ni, Hence his Mukhari is also like that ^ - — of Locana Kavi. Srinivasa has given the description of his Mukhari on the lines of Ahobala, The stalwarts of Karnataka Sangita, viz. Ramamatya Soraanatha, Vehkatamakhin and Tuljaji have given Mukh'ari as their basic scale, with all Suddha Svaras. According to the clarification of the ^uddha/Vikrta notes adopted by them, the notes of their Mukhari scale would correspond to the notes of Hindustani system - Sa, Hi, Ri, Ma, Pa, Dh_a, Dha, Their description of Mukh'ari corresponds to that given by Ahobala - a fact indicative of the influence of Karnataka music on him. The Mukhari of these authors of Karnataka music has come dov/n to modern Karnataka music in the form of Kanakaiigi mela, Raga Sivavallabha (V.^80) stated as belonging to Mukhari mela, drops Ma altogether. It drops Ni too, only in Aroha, Ga (i.e. Suddha Ri according to the explanation given above), is its Graha, and Pa as both Amsa and Nyasa. Accordingly, its Aroha-Avaroha will be Sa, Ri, Ri, Pa, Dh_a, Sa, Sa, Dha, Dha, Pa, RI, RJ., Sa. The last line of the verse 'Avarohanavelayam Nisadena sus'obhita' has been dropped 277 by Srlnivasa in describing his ^iv avail abb a'. That means, his raga drops Ni (i.e. Dha according to the explanation of the mela), in Avaroha also. Raga d'ivavallabha has not been given by any other author of Hindustani as well as Karnataka systems. Nor does the raga find a place in the books of Matatiga and Sarngadeva, which indicates that the raga did not even belong to ancient music. Presumably, it had some regional importance and was therefore tal^en by AhobaJ-a in his book, Todi (V,386) seems to have been treated by Ahobala as a separate mela, to which the ragas Todi, Chayatodi and Margatodi belong. In raga Todi, Ri and Dha are Koraala. It is Sadjapurva, i.e. Sadja is its Graha; Dha is Nyasa, and Ga, Am^a. When the Aroha starts with iMa, the Nyasa will be on Pa. In other words, if the composition set to this raga starts with Ma note, it will end with Pa note. V/hen it starts with Pa note, it may end with Pa or Dha. In accord­ ance with the note structure given its Aroha-Avaroha will be - Sa, Ri, G_a, Ma, Pa, Dh.a, Ni, Sa, Sa, N_i, Dha, Pa, Ma, Ga, Ri, Sa. This Todi is like modern Bhairavi of Hindustani music. The notes of Todi raga/mela given by Locana Kavi, Hrdayanarayana Deva and Srinivasa are the same as given by Ahobala,

Ragini Todi described by Damodara is altogether different. It has been given as the Bharya of raga Mala- vakaus'ika. In this Todi, Ma is the Graha, Amsa and Nyasa, 278

Its Murccbana is Sauviri. In ancient music Sarngadev/, a has tnentioned it as a raganga, which has Ma as its Graha, Arasa and Nyasa, wherein Tarasadja and Mandra Gandhara are used, where Pa has a Karapa and other notes even. Ragaraaiijari of Pundarika follows Sangitaratnakara. Brhaddesi has not men- tioned this raga. In Karnataka Sangita this raga is similar to the modern Bhairavi of Hindustani system, even now. Ahohala has given a variety of Todi by name Chayatodi (V.387). It is similar to Todi in all respects, except that it is void of Pa and Ni. Its Aroha-Avaroha will be - Sa, Ri, Ga, Ma, Dha, Sa, Sa, Dh_a, Ma, Ga, Ri, Sa. Srinivasa has given the raga Chayatodi in exactly similar manner. No other author of medieval age seems to have described this raga. Sarngadeva has mentioned Chay"atodi as an Upanga of his Todi, with Ri and Pa dropped. Another variety of Todi mentioned by Ahobala is Margatodi (¥.388) wherein Pa is dropped, Sa is Nyasa and Ma is Amsa. Ri and Dha are Koraala in it. Its Graha is Dha. This raga has not been dealt with by any author of medieval / - period, including Srinivasa. It does not also find a place in Sangitaratn"akara, Another mela treated by Ahobala is Varati (V,390). Ragas included by him under this mela are Varati, Suddha- varati, Varati todi, Nagavarati, Punnagavarati, Pratapavarati, Sokavarati and Varatinata. In Varati, Ri and Dha are Koraala, 279

Ga and Ni Tivra, and Ma Tivratara. Dha is its Qraha, Andolana or swing is its special feature. Its Aroha-Avaroha will be Sa,Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. The peculiar mark of Varati and its other varieties is the Tivratara Ma (corresponding to Tivra Ma of raodern Hindustani music), Locana Kavl has not mentioned any raga Varati under any of his Samsthanas (melas). However, under cofflbinational ragas (SakaladesasadharanaguniganaprasidKdharagasanjkar'ah) he has mentioned two ragas - Yarari as a combination of ragas Gunda (Gaunda?) and Iman (with Ga predominent), and Varadi, as a combination of r^gas Sailaja, Desakara and Todi, Hrdayanarayana Deva has not mentioned Varati and any of its varieties. Srlnivasa's description of the raga follows the pattern of Ahobala. In addition, he has given the Murcchana of this raga viz, Dhaivatadl Murcchana, In Sangitadarpana of Damodara, Varati has been mentioned as a raglni of raga Bhairava, with Sa as Graha, Ams'a and Nyasa, UttaramandraT (i.e. Sad^ja) murcchana, and a sarapurna variety. Subharikara, in his Sangitadamodara, has given Varadi as a Raglni of raga Malavakauslka. In Pundarika Vitthala's Sadragacandrodaya, a mela by name Suddhavarati has been given, under which two ragas Suddhavarati and Samavaratl have been classified. How­ ever, in his Ragaraanjari, Varati has been given as a separate mela under which ragas Varati, Suddhavarati and SSnavarati 280 have been classified. This raga has not been mentioned in his Ragamala. Of the musicologists of Karnataha Sariglta, Ratnamatya, Soraan'atha and Venkatatnakhin, have not mentioned mela or raga Varati, but they have mentioned two melas Saraavarati and Suddhavarati under which they have classified ragas of the same names. Soraanatha has included one more raga Vasantavarati under Saraavarati raela. Tulajil Bhonsle has described Varali raga under Varali mela, the notes where«F

are'Sa, Ri, Ri, Ma, Pa, Dha, Ni; those of Saraavarati of Soraanatha are Sa, Ri, Ri, Ma, Pa, Dha, Ni; and those of his Suddhavarati are Sa, Ri, Ga, Ma, Pa, Dha, Ni, having a semblance with our modern Hindustani Todi notes. None of these ragas appear to be similar to the Varati of Ahobala. In ancient music, Matanga's Brhaddesi has mentioned Varati as a Bhasa of the Graraaraga Bhinnapancaraa of Madhya^a Grama and born out of the combination of Sadjodicyavati and Madhyama Jatis. Nanyabhupala has given two forms of Varati - Karnatavarati and Latavarati. The former has Dha as Amsa and Sa as Graha and Nyasa. The latter has Dha as its Graha, Amsa and Nyasa; it drops Pa and is full of Garaakas, Sarngadeva, too, has given Varati as a Bhasa of Bhinnapancaraa. In his Varati, Dha is Amsa, Sa is Graha and Nyasa, Ma is Mandra (i.e. the limit of going down in Mandrasaptaka), Dha is Tara (i.e. the limit of going up in Tarasaptaka), and with other notes as usual. Varati has to be used in Srngara rasa. In his Varati he has not mentioned any Murcchana; but that of 281 the Cramaraga Bhinnapancama out of which it is born, is Pauravi - DhaLvata murcchana of Madhyaraa Grama. Apart from this Bhasa raga Varati Sarrigadeva has also described a Raganga Varati, Bhasan'ga Suddhavarati, and Upangas Kauntili Varati, Dravidi^ Varati, Saindhavi Varatf, Apasthanavarati, Hatasvaravarati • • • • and Pratapavarati. In the raga Suddhavarati (V.391) described next by Ahobala, Ri, Ga, Dha are Komala, Ma Tivra and Ni Tivra, Dha is Graha and Ni and Ma are Nyasa and Ara'sa respectively. The Aroha -• Avaroha of this raga will be - Sa, Ri, G_a, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa (Similar to modern Hindustani Todi). Suddhavarati of Karnataka Sangita has similar notes. Of the authors of the medieval age, Pundarlka Vitthala has mentioned the raga Suddhavarati in his Sadragacandrodaya in Suddhavarati raela and in Ragamanjari in Varati mela, but not in his Ragaraala. Srinivasa has followed Ahobala. Locana Kavi and Hrdayanarayana Deva have not mentioned the raga in their works. In Raga Varati-Todi (V.392) which follows next, Ri and Dha are Komala and Ma Tivratara. In the absence of any qualification of the notes Ga and Ni, they are to be taken r as Suddha, i,e,, Komala in terras of modern Hindustani music. Pa and Dha are its Graha notes. The Aroha-Avaroha of this raga will be Sa, RJ., Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Srinivasa has given this raga as 282

Varalitodi with similar note structure. Other authors of medieval age have not dealt with this raga. This raga has not found place in Soubh Indian music, nor in ancient music. Another variety of Varati dealt with by Ahobala is Nagavarati (V.393). Here Ma is Tivratara, and Dha Komala, Other notes are obviously Suddha, in the absence of anything otherwise stated. The note structure will be, Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Gj., Ri, Sa. Ga and Dha are stated to be its Graha notes. In the raga of similar description given next, viz, Punnagavarati (V,39^) the only difference is that Ni is Tivra. That is to say, all notes that are given in Nagavarati are in Punnagavarati, but only Ni is Tivra. Here too Ga and Dha are the Graha notes. Both these ragas have not been dealt with by any other author of the medieval age except Srinlvasa, who has simply followed Ahobala. Next variety of Varati mela is Pratapavarati (V.395), It takes all notes of Varati except that Ni is Tivra. Ga is the Graha of this raga. Of the medieval authors, only Srinivasa has mentioned this raga. The raga has been des- cribed by Sarngadeva, as an Upanga of Varati, with lower limit upto Mandra Dha, tremor on Sa, and liberal use of Pa. The raga does not find a place in Karnataka music. Next variety of Varati mela given by Ahobala is Sokavarati (V.396). This takes practically all the notes of 283

S'ud.dhavarati, except that Mi in ^uddhavarati is Tivra, where­ as here it is guddha (in the absence of any description) i.e. Koraala in terms of modern music. Its Graha is Pa, The Aroha- Avaroha will be Sa, B_i, Ga, Ma, Pa, Dha, M, Sa, Sa, Ni, Dha, Pa, Ma, G_a, Ri, Sa. This note structure reseables that of modern Todi. This raga has not been dealt with in either contemporary, ancient,or Karnataka music. Most of the varie­ ties of Varati appear to be unimportant, and may have had some regional importance, which presumably prompted Ahobala to include them in his work. The last variety of Varati mela given by Ahobala is Varatinata (V.Mfl). Although he has given it along with Nata varieties, he has stated that it arose out of Varati mela. Here Dha and Ga are dropped in Avaroha, Sa is Nyasa and Pa Ams'a. Dha is its Graha. There is a tremor on the notes Ni and Ma. The Aroha-Avaroha will be - Sa, R_i, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa. The raga has, apparently been treated only in Sanglta-Parijata. It does not appear to have been dealt with by any other musicologist of the medieval period. The raga also does not find a place in Karnataka music, nor in ancient music. Next mela spoken of by Ahobala is Kalyanamela. He has classified the following ragas under this Mela - Kalyana, Kalyanavar'ali, Kalyananata, Kokila, Air"avata and Rajadhani. In the raga Kalyana (V.^OO), Ma is Tivratara, Ga and Ni are 281+

Tivra, and Ga is its Graha. Ma and Ni are dropped in Aroha, The Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. It thus becomes an Auduva-Sarnpurna raga. The Kalyana raga as explained here is equivalent to modern ^uddhakalyana. However, the note structure of this Kalyana is similar to the note structure of modern Kalyana thata. In Ragataraxigini of Locana Kavi, a mela oT Samsthana has been given by name Imana, the note structure of which is similar to that of Ahobala's Kalyana. Locana's Imana takes Tivratara Ga and Tivratara Ni, which are equivalent to Tivra Ga and Tivra Ni (modern Suddha Ga and Ni), and Tivratara Ma (modern Tivra Ma). Hrdayanarayana Deva has followed Locana Kavi in toto in the description of this mela. With both of them, Imana is a mela and there is no Imana or Kalyana raga as such. Ragas classified by both under this Mela are Suddhakalyana, and Jayatakalyana. The term Kalyana has not been used by either of them, Pundarika Vitthala, has given raga Kalyana under Kalyana mela, in his Sadragacandrodaya. In his Ragamala, he has given it as a Putraraga of raga Desakara. In his RagamaKjarl, he has given Kalyana raga under Kalyana mela. There he gives the note structure of the mela as Ga, Ma, Ni, trtiya-gatika (that is, in their third form, viz. Tivratara), This more or less corresponds to the note structure of Kalyana given by Ahobala. In his Sadragacandrodaya he has 285 given the description of the raela/raga on the Karnatal^a style, because in that book he has dealt with ragas of both Hindustani and Karnataka styles. In Bagamanjari, he has given, for Kalyana, Parsi equivalent Yaraana, which seeras to be a modi- fication of the Imana of Locana and Hrdayanarayana Deva. From the cooibination of these two terms has figured the Yatnana- kalyana of modern Hindustani music. Of the authors of the Karnataka music, Ramamatya has not mentioned this mela or raga. Somanatha has mentioned raga Kalyana under Kalyana raela, with Sa as its Graha and Nyasa, and Ga as Amsa. In Caturdandiprakasika, the name of mela/raga has been given as , and the notes are Sa, Panca/ruti Ri, Antara Ga, Varali (i.e. Tivra) Ma, Pa, Pancasruti Dha, Kakali Ni. This generally corresponds to the note structure of the raga as given in Hindustani music. Tulaji. Bhonsle mentions raga Kalyana under Kalyani mela, with notes structure \ as Sa, Ri, Ga, Ma, Pa, Dha, Ni. Another raga given by Ahobala under Kalyana mela is Kalyana-Varali (V.397). Its Murcchana begins with Ga; Ma and Pa are its Amsa and Nyasa respectively. Var'ali seems to be a modification of Varati, Actually this raga has been given in Sangitaparijata along with the varieties of Varati; but the raga does not belong to Varali mela but Kalyana mela. The note structure and Aroha-Avaroha of this raga will be the same as those of Kalyana. Srinivasa has modelled his des­ cription of this raga on that of Ahobala, No other author of 286

raedieval age seems to have dealt vilth it. The raga has also not figured in South Indian music. Kalyana-Varali as pre­ sented by Ahobala, seems to be Varali raga to be sung by Kalyana Ariga (Kalyana style). However, the common factor is the only note Ma Tivra, and other notes will be as given for Kalyina. Kalyana-Nata (V.U-39) is another raga included by Ahobala in the Kalyana raela. Being a raga of Kalyana mela, the note structure is the same as that of Kalyana, In Avaroha Ga and Dha are dropped. Its Murcchana begins with Sa, The raga is a Sampurna-Avduva variety and the Aroha^ Avaroha will be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa, This is also a mixed raga, formed v^ith the com­ bination of Kalyana and Nata. It is given by Ahobala along with other varieties of Nata mela, but has been mentioned as arising out of Kalyana mela (Kalyana-mela-sambhuta). In other words, it may be said that it is Nata raga to be sung in Kalyana style. In Nata, Ma is Suddha; when it is to be sung by Kalyana style. Ma will be Tivra. The raga does not find a place in ancient music; nor has it figured in South Indian music. Out of the pro­ minent writers of medieval age, LocanaKavi, Hrdayan'ariyana Deva, Pundarika Vitthala, etc, have not dealt with the raga. Gatura Daraodara has described the raga as a Sampurna raga (taking all notes), and having Ri as its Graha, Amsa and Nyasa, There is no mention of what types of notes it takes 287

and it is difficult to obtain proper knowledge of the raga. It would however appear that the raga as described by Daoiodara, differs from that of Ahobala. Srinivasa is the only author of medieval age whose description of the raga is similar to that given by Ahobala. Next raga of Kalyana mela dealt with in Sangita~ pari 3 at a is Kokila (VA6^). It has a raurcchana starting with Ga note. It drops Ma and Ni, that means it is an Auduva variety. Its Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Dha, Pa, Ga, Ri, Sa. The pecularity of Kalyana mela is that Ma here is Tivra, and all other notes are Buddha (Ga, Ni, Tivra = Ga, Ni, Suddha according to modern theory). Since Ma is dropped in this raga the peculiar trait of Kalyana mela is lost. As such it is not apparent why the raga has been classified under Kalyana mela. Raga Kokila has got a sem­ blance with modern Bhupa. None of the authors of the me- dieval age except Srinivasa has dealt with this raga, nor does it figure in ancient and Karnataka music. Another raga of Kalyana raela that follows is Airavata (V.^8). It drops Dha. Ga is its Graha and Sa, Nyasa, There is stress on Pa, that is Pa is the important dominant note, i.e. Amsa. Its Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Ni Sa, Sa, Ni, Pa, Ma, Ga, Ri, Sa. Having dropped one note, the raga is hexatonic (Sadava). This raga also has not been dealt with by any authors of the medieval era except Srinivasa. Nor 288

has it figured in ancient, or Karnataka music. One more raga classified by Abobala under Kalyana mela is Rajadhani (VA86). It drops Dha in Aroha and Ga in Avaroha, The special feature of the raga is the repetition of notes and also tremors of notes, which add to the melodiousness of the raga. Its Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa, like Airavata, this raga too seems to be peculiar to Sangitaparijata and has not been dealt with in any other treatises of the contemporary period. It has not also figured in ancient and Karnataka music.

Abhiri (V.399) raela is one of the melas mentioned by Ahobala in connection with the classification of certain ragas such as Abhiri, Dhakka, and Abhirinata. The note structure of Abhiri has been given by him as follows. It takes Komala Dha and Ni Tivra. Other notes are Suddha (Ga Komala according to modern theory). Its murcchana begins with Sa. Sa is naturally its Grahajand Pa Amsa. Sa is also its Nyasa, in the absence of any specific mention. There is a combination of the two notes Dha and Ga, with tremor on them. It sometimes drops Ma in Aroha, sometimes in Avaroha also. According as it takes or drops Ma, its Aroha-Avaroha will be like this. When Sampurna, Sa, Ri, Ga, Ma, Pa, Dh_a, Ni, Sa, Sa, Ni, Dha, Pa, Ma, G_a, Ri, Sa; when dropping Ma in Aroha, Sa, Ri, G_a, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, G_a, Ri, Sa; when dropping Ma in Avaroha, Sa, Ri, G_a, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, 289

Pa, Ga, Ri, Sa; when dropping both in Aroha-Avaroha, Sa, Ri, Ga, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ga, Ri, Sa. Abhiri has come down from the ancient period - right from the period of Matariga, although its nature and name have admitted of small changes at different times. Matariga has given Abhiri as a Bhasa of two Grama-ragas - Malavakaisika and Panbama. Both belong to Madhyaraa Grama, and have prac­ tically common notes. Sa is the Graha, Aras'a and Nyasa; it is Sampurna variety; Murcchana" is Sadjadi (i.e. Suddhamadhy'a); Ni here is Kiicali. Sarngadeva too, has given Abhiri as a Bhasa of Pancama and MaLavakais'ika, and Vibhasa'of Kakubha. In his commentary Kallinatha has given the description of the raga. As Vibhasa of Kakubha, Abhiri (Abhirika) has Ma as its Graha, Amsa and Nyasa. It takes Tara (higher octave) Pa and Mandra (lower octave) Dha. It is Sampurna and has frequent use of Ma, Another Abhiri, BhasaT of Pancama, has Pa as its Graha, Ams'a, and Nyasa. It is Sampurna, with frequent use of Ni which is K'akali and having a combination of the notes Sa and Ma. It is used for singing warlike descriptions. Yet another Abhiri described by Kallin'atha, is a Bhasa of Malavakaisika. It takes all normal notes. Sa is Graha and Nyasa. It is Sampurna, but has restricted use of Ni and Ga. The combination of Sa and Ri is its peculiar feature. It will be seen that all the three Abhlris of Sarriradeva are altogether different from each other. They are also quite 290 different from the Abhiris described by Matanga. It would raean therefore that even in ancient music AbMri sung at different periods was different in forra. It is quite natural that it would have no serablance with the Abhiri of Ahobala, which has been introduced in the musical field centuries after. Locana Kavi, and Hrdayanarayana Deva have not mention­ ed this raga. Damodara Pandita has stated that Abhiri is similar to Kalyananata. In Kalyananata, Ri (according to some Sa) is the Graha, Am's'a and Nyasa, and it is Sampurna. This description bears no similarity to that of Ahobala* s Abhiri, In Sadragacandrodaya of Pundarika Vitthala, the raga Abhiri is said to have arisen out of Abhiri oiela. In his Raga-miila he has not mentioned Abhiri, but has spoken of one Ahiri as a Bharya of raga Suddhanata. In his Ragamanjari, again, he has given a still different name, viz. Aheri mela giving rise to Aheri raga. In Sadragacandrodaya and Ragamala he has not given any details of the raga, but in Ragaiflaffjari he has stated that Aheri raga has Sa as its Graha, Am'sa and i^yasa and it is Sampurna. This tallies with that of Damodara's Abhiri. Srinivasa has mentioned raga Abhiri and has given the des­ cription of his raga similar to that by Ahobala. Amongst the authors of South Indian music. Pandit Ramaraatya has mentioned Ahari mela and Ahari raga with Pancasruti Ri, Sadharana Ga and Gyutasadja Ni and the rest c the notes Suddha. The notes of his Ahari raga, in terms of 291

Hindustani music, would be like Sa, Ri, G_a, Ma, Pa, Dh_a, Ni, Somanatha's raga Abhiri has notes just similar to those of Rarnaraatya's Ahari. Verikatamakhin also has mentioned raga Ahari of Ahari mela, with similar note str^iTcture, In Sangita- Saramrta, Raga Ahiri (and not Abhiri) has been classified under Bhairavi mela, notes whereof have been given, in terms of Hindustani system, as 3a, Ri, Ga, Ma, Pa, Dh_a, N_i - similar to modern Asavari thata. It would be seen from the above study that ragas with name Abhiri, or with names which would appear to be similar to Abhiri, were in vogue in the iflusic of different periods, but there was no, or practically very little, similarity amongst their note structures. There is also hardly any thread of evolutionary process amongst them, and it is not possible to say that Ahobala's Abhiri might have evolved from out of the earlier ragas. In all probability, it was a new raga (with the old name) in vogue in his time, and he has given it a place in his book. Another raga of Abhiri mela dealt with by Ahobala is Dhakka (VA32). It takes Ri and Dha Komala; Dha is dropped in Aroha. The Aroha^Avaroha will be Sa, Ri, Ga, Ma, Pa, M, Sa, Sa, Ni, Dha, Pa, Ma, G_a, Ri, Sa. This is more or less similar to modern Bhairavi raga. It has the Murcchana of Abhiri i.e. the Murcchana starting with Sa. There is Kampana (tremor) on Ga in the raga. Srinivasa calls the raga as 292

Takka. Locana Kavi and Hrdayanarayana Deva do not give this raga. Pund_arika Vitthala in his Sadragacandrodaya mentions Raga Takka as arising from Malavagauda raela. In his Raga- rnala, he mentions the raga as a Putraraga of Sriraga. In Ragaraanjari, however, he mentions it as a raga of Gaudi mela, with Antara Ga and Kakali Ni, and having Sa as its Graha, Arnsa and Nyasa. Somanatha mentions Takka as a raga of Vasanta mela whose notes according to Hindustani system are Sa, Ri, Ga, Ma, Pa, Dha, Ni. Tulaji, classifies raga Takka under Malavagauda mela whose notes according to Hindustani system are Sa, Ri, Ga, Ma, Pa, Dh_a, Ni, similar to those of Vasanta mela of Somanatha. This sounds like the modern Bhairava, whereas Ahobala's Dhakka resembles Bhairavl. Damodara mentions Takka as a Bhary'a of Megha raga. Talcka has been described by Matanga as a raga of Sadjagrama, arising out of the combination of Dhaivati and Sadjamadhyama Jatis. Sarngadeva has given Takka as a Grama- raga arising out of Vesara Giti and belonging to Sadjagrama, Beyond this no further details have been given. In Bharata- bhasya of Nanyadeva, Takka raga is described as having Sa as Graha, Nyasa and Arasa, and as belonging to Sadjagrama, and derived from Sadji Jati, taking Antara Ga and Kakali Ni. One more raga of Abhiri mela dealt with by Ahobala is Abhirinata (V.'-+38). It has been given in Sangitaparijata along with the other varieties of Nata. It drops Dha in Avaroha. Sa is its Adisvara (or Graha) and Nyasa, and Ga and 293

Ni are the Arasa notes. The raga has been described as Atha Nyasavi^esadhya - rich or abounding in particular kinds of Nyasas. In Ragatattvavibodha of Srinivasa, the term used in the description of this raga is 'Apanyasavis'esadhya', instead of 'Atha nyasavis'esadhya' as in Parijata. Nyasa is the ending note of the song and Apanyasa is the closure of the parts of the song. Hence Srinivasa's reading is more appro­ priate than that in Sangitaparijata. 'Atha' appears to be an erroneous reading in the place of 'Apa'. The note complex of the raga has not been given but since it is a variety of Abhiri mela, it naturally takes the notes of Abhiri. The Aroha-Avaroha of this raga will be - Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Ga, Ri, Sa. Locana Kavi and Hrdayanarayana Deva have given the name of the raga as Ahiranata, and have classified it under Kedara mela. Since notes of Kedara mela are not the same as those of Abhiri mela, the form of Ahiranata is different from that of Abhirinata of Sangitaparijata. The raga has not been mentioned in South Indian music, nor in ancient music. Another Mela under which Ahobala has classified some of his ragas is Malava mela. The ragas dealt with under this mela are Malava, Kakubha, Dipaka, GiVjari and Uttari Gurjari. In Raga Malava (V.^03) Ri and Dha are Komala and Ga and Ni are Tivra. Its Graha is Sa, having descent from it in the Sa is nyasa, and Ri Am/a. The Aroha-Avaroha of the raga will 29^

be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Tlnis appears to. Ibe similar to Bhairava of the modern Hindustani music. Locana Kavi and HrdayanaTayana Deva have included the raga under Gauri mela, which also takes the same notes as Malava mela of Ahobala. Srinivasa gives the name of the raga a5 Malavi, although the description of the raga is the same as that of Ahobala. In Sadragacandrodaya of Pundarlka Vitthala, raga Malava has been included under Malavagauda mela, which is similar to modern Bhairava thata. In his Ragamala he has shown the raga as a Putraraga of Sriraga. Damodara also has named the raga as Malavi and has sho>m it as fhe Bbarya raga of Sriraga, witYi ^Jr±. as 'GrTaba, Atfisa and Nyasa, Ri-Pa dropped, and with Rajani raurcchana (Nisada murcchana). In Ragavibodha, the name of the raga has been given as Malavika and has been shown under Vasanta-'&nairavi mela, notes whereof are like the Hindustani Sa, Ri, Ga, Ma, Pa, Dha, Ni. Tbe difference between Ahobala's Malava and this Malavika is of the note Ni - being Tivra in the former and Komala in the latter.

In Brhaddes'i, Matariga has quoted Yastika as giving one Malava as a Bhasa under Takkakais'ika. At the same time he quotes Sardula as giving a Bhasa Malavi under Pancama. Sarngadeva gives a (i) Bhasa Malavi under the Gramaraga Takka, (it) a Bhasa Malava under Takkakaisika and (iii) a Vibhasa Malava under Bhinnasadja. The ^hasa Malavi of Takka has Pa as 295

. /" its Nyasa and Dha as its Amsa; it is void of Ri; its upper limit is Tar a Ga; it has a shiver on Sa and Ma. Malava, the Bhasa of Takkakaisika, has Dha as its Graha, Amsa and Nyasa, and has a combination of Sa-Dha and Ri and Dha. Malava, the Vibhasa'of Bhinnasadja, has Dha as its Graha, Am'sa and Nyasa, contains Mandra Dha (as the lower limit) and has frequent use of Sa, Ri, Ga and Ma. Nanyadeva gives a raga Malava, arising out of the combination of PaKcama and Saindhava, It would be thus observed that Raga Malava is in the field of music from ancient times, in some form or other. In raga Kakubha (V.U-O^) of Malava raela dealt with next byAhobala, Pa is the Graha and Dha is dropped altogether. Tivra Ga is dropped in Aroha. The Aroha-Avaroha of this raga will be Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ga, Ri, Sa. This is an Auduva-Sadava variety. Srinivasa has given the name of the raga as Kakubha, and has given its Murcchana as Sadja murcchana. Locana Kavi and Hrdayanarayana Deva have given raga Kakubha under Karnata mela, notes whereof are Sa, Ri, Ga, Ma, Pa, Dha, Ni, similar to modern Khamaja Thata. The raga given by them is thus different from that of Ahobala. Pundarika Vitthala has • • • • not mentioned this raga in any of his books. In Sangita-oarpana the raga name has been given as Kakubha, v/hich has been men­ tioned as one of the five Bharyas of MaLavakausika. It has Dha as its Graha, Amsa and Nyasa, has third (Uttarayata) murcchana, and is used to depict Srngara rasa. The raga has 296

not been dealt by any of the south Indian musicologists.

Raga Kakubha finds a place in ancient music. In Brhaddesi of Matatiga, it has been given as Gramaraga of Sadja Grama and arising out of Madhyama, Pan'caroi and Dhaivati Jatis. It is a Grama-raga of Sadharana Giti. Bharatabhasya also gives the raga as born out of the abovementioned three Jatls, with Dha as its Graha, Amsa and Nyasa. Sarrigadeva too, has mentioned Kakubha as a Gramaraga of Sadharana Giti, but be­ longing to both Gramas. Kakubha has also been mentioned by these ancient musicologists as a Bhasajanaka Raga - a raga leading to the creation of Bhasa ragas etc.

Another raga arising out of Malava mela is Dlpaka (V,V12). It drops Ma and Ni in Aroha. Ga is its Graha, and Sa, both Nyasa and Amsa. The Aroha - Avaroha of the raga will be Sa, Ri, Ga, Pa, Dh_a, Sa, Sa, Nl, Dha, Pa, Ma, Ga, Ri, Sa. It is an Auduva-Sampurna variety. In modern Hindustani music, Riga Dlpaka is sung in Purvi thata (with Ma Tlvra). The singing time of modern Dlpaka is evening (owing to Tivra Ma note), whereas that of Ahobala's Dlpaka is afternoon. Locana Kavi and Hrdayanarayana Deva have mentioned Dlpaka mela and Dlpaka raga, but have not given any details. Srinlvasa's description of the raga follows that of Ahobala. Damodara has given raga Dlpaka as a Sampiirna raga having Sa as its Graha, Amsa and 297

Nyasa and with Suddharaadhya iBurcchana. Punqarika Vittbala has not mentioned Dipaia in his Sadragacandrodaya and Ragamala. But in Ragamanjari he has given it under Desikara raela. Out of the authors of the ancient music, Sarngadeva has raentioned Dipaka as a Purvaprasiddha (popular during the period earlier to him) Raganga. Raga Dipaka finds no mention in Karnataka music. Zn Sarigitapaxijata (Hathras edition) note expanse of raga Dipaka has not been given. Below the closure of Riga Dipaka, the following mention is made: Iti Patamanjari > Trtiyapraharottaram (55). Raga Pataman'jari has not actually been given under Malava mela, but has been counted in total number of ragas dealt with. Next raga stated to have belonged to Malava mela is Gurjarl (V.^l5). In this raga, Ma and Ni are dropped in Avaroha. Its murcchana is that of Ga note. The notes Ga and Ma, and Dha and Sa, always appear in this in a close embrace, i.e. they are taken in close succession. Its Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Dh_a, Pa, Ga, Ri, Sa. Since Ma and Ni are dropped in Avaroha, the coming to­ gether of the notes Ga Ma and Dha-Sa will occur only when the notes are ascending. The phrases Gaslistamadhyamopeta, and Dhaslistasasvara are rather confusing and would not possibly admit of any other meaning, Ahobala has described this raga as Daksinatya, 298

belonging to South. There are two types of Gurjaris, dealt with by him; one (this one) is pertaining to South, and another one, which has been given in the next verse, is Uttari Gurjari (V,l+16) i.e. belonging to North. The differ- ence between the two is that the latter takes Suddha Ga, i.e. Koraala Ga in terms of modern music. The notes in this raga i.e. Uttari Gurjari will be Sa, Ri, Ga, Ma, Pa, Dha, Ni. Srinivasa has followed Ahobala in giving two Gurjaris as above; but Locana Kavi and Hrdayanarayana Deva mention only one Gurjari, arising out of Gauri raela. Locana Kavi has given Gurjari as a Samkara raga i.e. a raga born with the combination of two ragas viz. Gaunda and Imana, indicating thereby that his Gurjari takes Tivra Ma. Hrdayanarayana has mentioned Gurjari as a pentatonic raga, dropping Ma and Ni altogether - sounding like modern Bibhasa. The South Indian musicologists, viz. Ramamatya, Somaifatha, Vehkatamakhin and TulajA- have been unanimous in mentioning Gurjari as arising out of Malavagaula mela (Venkataraakhin mentions it as Gaul a mela). Pundarika Vitthala gives Gurjari as a raga of Malavagauda mela in his Sadragacaudrodaya which follows the pattern of south Indian music. In his Ragamala, he mentions the raga as a Bharya of Desikara raga. In his Ragamanjari he clubs it along with other ragas of Gaudi mela. The note structure of Gaudi (Gauri), Malavagauda, and Malava melas being more or less similar, there is practically no difference 299 in the description of the Gurjari classified under them by the different authors. In Sangitadarpana of Damodara Pand^lta, Gurjari has been mentioned as a Bharya of Megha, There is a mention of Gurjari in ancient music too. In Brhaddesi Gurjari has been mentioned as a BhasaT of three Grama-ragas, viz, Taitka, Malavakaisika, and Paxfcama. Sarriga- deva too, has given it as a Bhasa of Malavakaisika and Pancama, and Vibhasa of Takka. He has also given it as Adhunaprasiddha (current in his time) raganga. As a Vibhasa of Takka, the raga takes Ni as its Graha and Amsa and Sa as Ny'asa, and has the combination of Sa-Ma and Ri-Ni. As a Bhasa of Malavakaisika, it has Ni as its Graha, Amsa and Sa as Nyasa with the combination of Ri-Mi and Ri-Ma. Gurjari as a Bhasa of Pancama ' . . , has Ri as its Graha and Amsa and Ma as Nyasa. Its upper limit is Tara Ri. It abounds in the use of Ri and Dha, It is used in depicting the Erotic senti- ment, Sarngadeva has mentioned some Upangas of Gurjari, such as, for example, Maharastra Gurjari, Saurastra Gurjari, Daksina Gurjari, Dravida Gurjari etc. With this ends the description of Malava mela ragas. Another mela that finds favour with Ahobala is Sankara- bharana. Ragas included under this mela are Sankarabharana: Sarikarananda, Badahamsa, Salankanata, Chayanata and Karikana, The notes of Sankarabharana raga (V.U-06) are the notes of the mela. In raga Sankarabharana, Ga and Ni are Tivra. Sa 300 is the Graha, Ga Nyasa and Ma Ams'a. This raga gets better with Dhalu Gamaka - i.e. starting from one note, going over to the next two (or three) notes and returning to the original -' _ — note. The rest of the notes are Suddha. The raga is Sampurna. The Aroha and Avaroha would he Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Locana Kavi and Hrdaya- narayana Deva have not given Sankarabharana as a separate mela, but have included the raga under Kedara Samsthana/raela. The note structure is the same as given by Ahobala. The peculiar note arrangement of the raga has been given by Hrdayanarayana Deva as Ga, Ma, Pa, Ni, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa, Pa, Ni, Sa. Raga Sankarabharana also finds a place in South Indian music. Raraamatya and Venkataraakhin state that the raga takes Pancasruti Ri and Pancas'ruti Dha. Somanatha uses the term Tivra for Pancasruti. All these n three have given this raga under Sriraga raela. Actually Sriraga mela takes the socalled Komala Ri and Koraala Dha and the Mela is akin to Bhairava-thata. Tulai^ has given Sankar'a- bharana raga under Sankarabharana mela. The note structure given by all is practically the sajae, Damodara states that Ri^Ra Sankarabharana is similar to Vel"avali. Sarngadeva gives it as a Purvaprasiddha Raganga. He has not given any description of the raga, but Kallinatha has said that this raga has Ma as its Graha note, and is en­ dowed with the shadow of another raga. The raga does not find 301

a place in earlier music. Pund_arika Vitthala has included it under Kedara mela, Raga Badaharasa (V,^07) is another raga coming under Sankarabharana raela, in Sangitaparijata. It has Sa as Graha, Pa as Atrisa and Nyasa. It drops Dha in Aroha and Ga in Avaroha. The Aroha and Avaroha of the raga will be: Sa, Ri, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. This raga has not been given by Srinivasa. Locana Kavi and Hrdaya- narayana Deva have given the raga under Sarariga raela, which has two varieties of Ma (and no Ga) and two varieties of Ni (and no Dha). Pundarika Vitthala has not mentioned the raga, • • • • Out of the stalwarts of South Indian music, only Tulajihas given the raga under Kamboji mela, which is similar to modern thata. The raga has been given by DaSodara as having all tyhe notes of Karnata. Raga Badahamsa seems to be a later development and does not find a place in the ancient music. The next raga that is deal'^^^ith in Sangitapari jata under Sankarabharana mela is raga Salankanata (V,i^-35). Ga is dropped here. Sa is Graha, Ams'a and Nyasa. Ma and Dha are repeated - reduplicated. The Aroha-Avaroha will be - Sa, Ri, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Locana Kavi and Hrdayanarayana Deva have not mentioned this raga, Srinivasa mentions it as Salanganata. His description is however similar to that given by Ahobala. Amongst South Indian musicologists, Ramamatya has given Saranganata raga 302 under Saranganata mela, with notes Sa, Pan'oasVuti Ri, Cyuta- madhyarna Ga, Ma, Pa, Pancasruti Dha and Cyutasadja Ni, Somanatha gives Salariganata under Mallari mela, with more or less similar note structure. Venkataniakhin has given it under Gaula mela whereas Tulaji- has given it under Malavagauda mela. In Sadragacandrodaya of Pundarika it has been given under Kedara mela, whereas in his RagamalaT it has been given as Salanganata under Suddhanata mela. In Sarigitadarpana the raga Saranganata has been mentioned as a Sampurna raga with Sa as Graha, Amsa and Nyasa and llttaramandra murcchana. The raga does not find a place in ancient music, Raga Ghayanata (V.'+36) which is classified by Ahobala under Sankarabharana mela, takes all notes of Sankarabharana, but drops Ni in Aroha and Ga in Avaroha. Dha is its Graha and Ri Nyasa. Madhyarna is oft-repeated. Its Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Although it is a Nata variety, it has been included under Sankarabharana mela. Locana Kavi and Hrdayanarayana Deva have given the raga under Kedara Samsthana/mela. Srinivasa has not classified it under any mela, but has given the raga descrip­ tion similar to Ahobala's. Pundarika Vitthala, in his Sadraga­ candrodaya, has included the raga under Karnatagauda mela; but in his Ragaraala, he has given it as a Putra raga of raga Suddhanata. In his Ragaraanjari, he has given Suddhanata mela as having Ri, Ga, Dha, Ni, trtiyagatika, that is Tivra. Out 303

of the South Indian musicologists, Raraaraatya has included the raga under Kannas^dagauda. Somanatha and Venkataraakhin have not given the raga. Tulajl./ • gives it under Chayanata mela, with notes corresponding to modern Hindustani notes Sa, Ga, Ga, Ma, Pa, Dha, Ni, Sarngadeva has not given Chayanata; he has mentioned it as an Upanga (adhunaprasiddha) Chayanatta, without however giving any details thereof. The raga does not find a place in ancient music,

Raga Karikana (V.^69) is another raga which Ahobala mentions under Sankarabharana mela. It is void of Pa. Ga is its Graha. Ma is oft repeated (i.e. it is the dominant note). The Aroha-Avaroha would he Sa, Ri, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Ri, Sa. It is a Sadava variety, Locana Kavi and Hrdayanarayana Deva have not mentioned this raga. Srinivasa has however given it under Sankarabharana mela. The raga is perhaps peculiar to Hindustani music of later mediev.al period and does not find a place in ancient music as v/ell as South Indian music. The last raga that Ahobala has mentioned as belonging to Sankarabharana mela, is Sankarananda (V.'+S'^i-). Its notes are the sane as those of Sankarabharana. Ri, Ga and Pa are its Arasa notes and Ri is Nyasa. There is a frequent corabina^ tion of the Arasa notes v/ith their Samvadin notes, such as Ri- Dha, Ga-Ni and Pa-Sa, and there will be flurry on these notes. Aroha and Avaroha of the raga will be straight as there is no 30^ dropping of any note either way. Like Raga Kankana, this raga is also peculiar to later Hindustani music. Another raela that has been treated hy Ahobala is the Saranga raela. There are two ragas included under this mela Saranga and Sararigagaula. In raga Saranga (V,i+02), Ga is Atitivratama and Ma is Tivratara. Dha is Tivratara and Ni Tivra. Sa is its Graha and Wyasa, and Ma Arasa. Its ajurcchana is the one starting from Sa. The note Atitivrataiiia Ga is nothing but ouddha Ma. Hence in this raga there is no Ga at all, and there are both varieties of Ma. Similarly Dha Tivratara is the same as ouddha Ni (Koraala Ni of the modern Hindustani music). The Aroha-Avaroha will be: Sa, Ri, Ma, Ma, Pa, Ni, Ni, Sa, Sa, Ni, Ni, Pa, Ma, Ma, Ri, Sa. The note structure sounds like that of modern o'uddha Saranga of Hindu- stani music. Locana Kavi, Hrdayanarayana Deva and Srinivasa, have given the raga under Saranga raela, with similar note structure. Pundarika Vitthala, in his Sadragacandrodaya and Ragamanjari has given the raga under Saranga mela. In his RagaiBala he has given it as a Putra of Raga Desakara. Rama- raatya and Venkataraakhin have not given Raga Saranga. Somanatha has given it under Saranga raela. Tulaj4-has also given it under Saranga raela, with note structure just similar to that given by Ahobala. The raga does not find a place in ancient music. The raga Saranga or Vrndavana Saranga as otherwise called, is a pentatonic raga of Kafi thata in modern Hindustani 305

music, dropping Ga and Dha and taking both forms of Ni. Another raga given by Ahobala under this raela is Sarangagaula (VJ+21+). It has got all Saranga notes. Actually it has been given along with Gaul a varieties. Its Graha and Nyasa is Sa, and Ams'a is Ma. It does not take Ga-Dha. Its Aroha-Avaroha will be Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa. The raga seems like modern VrndavanI Saranga. The raga has not been given by Locana Kavi and Hrdayanarayana Deva, but has been given by Srinivasa. The South Indian musico­ logists viz. Ramamatya, Somanatha, Venkatamakhin and Tulaj^ have not given this raga. The raga is also not found in ancient music. It seems to be a peculiar raga of medieval Hindustani music.

The next mela that Ahobala has treated is Velavali. Under this mela he has included two ragas - Vel'avali and Natanarayana. In Raga Velavali (V.U-08) Ga and Ni are Tivra, Sa is Amsa. In Aroha Ma and Ni are dropped, and in Avaroha Ga is dropped. Accordingly, the Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Its Murcchana has been stated to be Abhirudgata i.e. Rsabha Murcchana. That means Ri is its Graha from which the ascent starts. At times its Murcchana is said to be Gandhara Murcchana. In that case Ga will be its Graha from which the Aroha will commence, Srinivasa too, who has practically reproduced Ahobala, has not given any additional information. Locana Kavi and Hrdayan'arayana 306

Deva have included Velavali under Megha Samsthana/mela. The particular notes of Megha thata as given by them are Ga (Tivra) Dha Atitivratama i.e. Ni (= Komala Ni of modern music), Ni (Tivra-tara). That means, the complete note structure of the Megha Mela will he Sa, Ri, Ga, Ma, Pa, Ni, Ni, This differs from the one given by Ahobala. In Hrdaya- prakasa, the note structure of the raga Velavali has been shown as Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Ri, Sa, Dha, Pa, Ga, Ma, Ri, Sa, Pa, Dha, Ni, Sa. Here the raga takes all the notes, whereas in the Megha Thata, the note Dha, having the form of Komala Ni, is absent. In Ragamanjari of Pundarika Vitthala, Velavali has been classified under Kedara mela, v/ith Dha as its Graha, Anis'a and Nyasa. It is an Auduva raga having dropped Ri and Pa. In his Sadragacandrodaya also it has been included under Kedara mela. In Ragamala however, he has shown it as a ragini under Natanarayana mela. Raga Velavali is also found in South Indian music. Ramaraatya has included it under Sriraga mela. Somanatha has shown it under Mallari mela; it is either Purna or Auduva dropping Ri and Pa, and Dha as its prominent note. The latter description tallies with that given in RagafflaKjari of Pundarika Vitthala. Venkatamakhin has also included it under Sriraga mela. TulajA-has Vel'i.vali as a separate mela and raga, v/ith note structure, correspond­ ing to modern Hindustani music, Sa, Ri, Ga, Ma, Pa, Dha, Ni, 307

Damodara gives Velavali as a Bharya raga of Hindola, with Dha as Graha, Am^a and Nyasa, and having Pauravi murcchana, Sarrigadeva has given it as an Adhunaprasiddha 3hasariga under Vibhasa Bhogavardhini of GrEraaraga Kakubha. In Bharatabhasya, the raga is described as having Dha as Graha, Ams''a, and Nyasa and \ilth. Ga as Tara and Mandra limits. In Sarn'gadeva's description, the Tara limit is Dha. Otherwise both descrip­ tions are similar. Velavali may be treated as a root from which the modern Bilavala has developed, Bilavala is the Suddha scale of modern music. It has been included amongst one of the ten thatas of the modern Hindustani music, and under it, a number of varie­ ties such as Alhaiya, Sarparada, Devagiri, Jaimini,Bilavala etc. have been included. The modern Bilavala is quite different from its ancient counterpart in any of its forms. Bilavala now is not only a raga but a category. Another raga included by Ahobala under Velavali mela is Nata or Natanarayana as it is otherwise called. (V.^3^) Its murcchana starts with Ga. Ma is its Ams''a and Ri, Nyasa. It drops Ga in Avaroha. The Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Srinivasa gives this raga as Natanarayana. Locana Kavi and Hrdayanarayana Deva have included Nata under Megha Sarasth'ana/ mela. Pund^arika VitLhala, in Ragamanjari and Sadragacan- drodaya, has given raga Natanarayana under Kedara mela; but 308 in his Ragamala he has given it as an original raga. Out of the South Indian stalwarts, Ramamatya has given raga Natta- narayar. •.: -, under Saranganata raela. Soaanatha has given raga Natanarayana under Mallari mala. Venkatamakhin has given a separate raga Nata under Nata raela. Tulaja. has included Natanarayana under Kamboji raela which is similar to modern Hindustani Kharaaja That a, Raga Nata in modern Hindustani music is a raga under Bilavala thata, taking all notes in Aroha and dropping Dha and Ga in Avaroha. Another raela dealt with by Ahobala is Kambodhi. Under this mela he has treated two ragas - Kambodhi and Gopikambodhi, Kambodhi (VAlO) takes irvra Gandhara, and all other Suddha notes. Suddha Ni of Kambodhi is however modern Koraala Ni, The note structure will be thus similar to modern Kharaaja thata. The raurcchana of the raga is Gajidhara raurcchana, ' '. Ma and Dha are its Amsa notes and it drops Ma and Ni in Aroha, Thus its Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Ahobala has also raentioned a Kambodhi variety without Ga, when its raurcchan'a will be Uttarayata (Dha Murcchana). In that case its Aroha-Avaroha will be Sa, Ri, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Srinivasa, Locana Kavi and Hrdayanarayana Deva have named the raga as Kamodi. The latter two have classified it under Karnata mela. Note structure of all however is the same. The South Indian 309 veterans have included their raga (Kambodhi, Karabodi, Karabhoji) under the mela of similar narae, and the note structure is practically similar to modern Hindustani Khamaja thata. Pundarika Vitthala has given the raga under Kedara mela in his Sadragacandrodaya and Ragamemjari, but in Ragamala he has given it under Natanarayana mela. Daraodara shows Kamodi as a Bharya of Dipaka raga, with Dha as Graha, Amsa and Nyasa, and Pauravi murcchana. Sarrigadeva has given a Vibhasa Karabhoji under Raga Malavakaisika. This Karabhoji has Sa as Graha, Ams''a and Nyasa, dropping Ri and Pa, taking Ni often, and is full of Gamakas. Matanga has given a Bhasa Karaboja of Kakubha.

Kamboji of modern Hindustani music is an Auduva- • Sarapurna raga from Kharaaja thata, dropping Ma and Ni in Aroha, Ahobala has given one more raga, Gopikarabodhi (VAll) under Kambodhi mela. This raga has Dha as Graha, and Ma and Pa as Amsas. It drops Ni in Aroha. Its notes are the same as those of Kambodhi. Its Aroha-Avaroha would be - Sa, Ri, Ga, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa, The raga seems to be peculiar to Sangitaparijata and has not found a mention in any books - either contemporary or earlier. Tulaja has however given one Yadukulakaraboji under Kamboji mela. There is a raga Gopakamboji in modern Hindustani music, arising from Kharaaja thata. It drops Ni in Aroha. Avaroha is Purna. Another mela which finds place in Ahobala's mela system 310

is Keciara (or Kedari as he has named it). There are two ragas included under this mela - Kedari and Kedaranata. In Raga Kedari (VA09) Ga and Ni are Tivra. Ri and Dha are absent, Ga is its Graha. Its Aroha-Avaroha would be Sa, Ga, Ma, Pa, Ni, 3a, Sa, Ni, Pa, Ma, Ga, Sa. This sounds like modern Tilariga. Locana Kavi and Hrdayanarayana Deva have mentioned Kedara raga under Kedara mela/Samsthana. But their Kedara is sampurna. It takes all the notes. In Hrdayakautuka, the main form of the raga has been given as Ga, Ma, Pa, Sa, Ni, Dha, Pa, Ga, Ma, Ri, Sa. Srinivasa's description of Kedari is the same as that of Ahobala. In Pundarlka Vitthala's Ragamaiijari and Sadragacandrodaya, the raga has been given under Kedara mela. There the raga is a pentatonlc one, being void of Ri and Pa, It has Ni as its Graha, Arasa and Nyasa. In his Ragaraala, he has given Kedara as a Putraraga of Natanarayana. Out of the South Indian musicologists, Raraamatya and Venkataraakhin do not mention this raga. Somanatha mentions it under Hamira mela and Tulaja under Saiikarabharana mela. In Sajigitadarpana, Kedara has been mentioned as one of the Bh'aryas of Raga Dipaka. The raga seems to be originated in medieval, period and does not find a place in ancient music.

Raga Kedara of modern Hindustani music belongs to Kalyana thata. It takes both form5 of Ma and drops Ri and Ga in Aroha. Avaroha is complete. Another raga of this mela given by Ahobala is raga 311

Kedaranata (V.UifO). Although It is a Nata variety, it has been included under Kedarainela. It takes Ga and Ni Tivra and has Ma as its Graha. According to Calcutta edition, Ga is the Graha, which seems correct from the Prastaya, It drops Ri and Dha in Aroha and Dha and Ga in Avaroha. So the Aroha-Avaroha are Sa, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa. The raga has not been given by Srlnivasa. Locana Kavi and Hrdayanarayana Deva have given it under Kedara Saiiisthana/ tnela. Pundarika Vitthala has given the raga only in his RagamanTjari, under Kedara/raela. The raga does not seem to find a place in South Indian music, nor in ancient music too, Hindola is another mela dealt with by Ahobala, under which he has treated two ragas - Hindola and Marga Hindola. In Hindola (VA30) Ri and Pa are dropped, and Dha is Komala, Ga and Ni are Suddha, i.e. Komala in terras of modern music. The Aroha-Avaroha would be Sa, G_a, Ma, Dh_a, Nj^, Sa, Sa, Ni, Dha, Ma, G^, Sa. This sounds just like modern Malakara'sa. Raga Hindola has come dovm from ancient times, but its form is not the same with all the musicologists who have mention- ed it. Srinivasa's Hindola is similar to that of Ahobala. Locana Kavi and Hrdayanarayana Deva have mentioned it under Karnata SanJsthana/mela, where the notes are Sa, Ri, Ga, Ma, Pa, Dha, Ni. This is quite dissimilar to Ahobala's Hindola, Pugdarika Vitthala in his Sadragacandrodaya has given Hindola under Hindola mela. His Hindola given in Ragamanjari drops Ri and Pa and takes Ga and Ni Ekagatika i.e. Komala. But he 312 has not said anything about Dha. Hence it is not similar to Ahobala's Hindola. In his RagamalaT, he has given Hindola as an independent raga. Amongst the South Indian musicologists, Ramaniatya has given Hindola under Hindola luela with notes, Suddha Sa, Ma, Pa, Pancasruti Ri, Sadharana Ga, Suddha Dha, and Kaisika Ni. Somanatha has given it under Vasauita tnela, with notes similar to modern Hindustani Bhedrava thata, Vehkatamakhin does not seem to have given this raga. Tulaja has given it under Bhairavi raela, with notes (in Hindustani system equivalent) Sa, Ri, Ga, Ma, Pa, Dha, Ni. Hindola of modern Karnatak music is however just like modern Hindustani MEilakamsa. Damodara describes raga Hindolaka as a penta^ tonic one having dropped Ri and Dha, taking Kakall Ni, having Sa as its Graha Amsa and Nyasa, and with Suddhamadhya mur- cchana. Hindola (Prenkhaka) has been given by Sarrigadeva as a Graraaraga arising out of Vesara Giti and belonging to both Gramas, giving rise to number of Bhasas. Here the raga is derived from Sadji, Gandhari, Madhyama, Parfcami and Naisadi Jatis. It drops Ri and Dha. It has Sa as its Graha, Amsa and Nyasa. It takes Suddha-madhya raurcchani., and is always exhibited with Prasannadi alarikara. Matanga has given Hindolaka as a Graraaraga under Raga (i.e. Vesara) Giti, The description given by Sarngadeva is just similar to that given by Matanga.

Hindola is also one of the modern Hindustani ragas. But its note structure is entirely different. It drops Ri 313

and Pa and takes tivra Ma, It is classified under modern Marava thata, Ahobala has given another raga Marga Hindola (V,'+31) under Hindola tnela which is formed hy Hindola taking Ri and Pa. The remaining factors describing Hindola are comraon here too. The Aroha-Avaroha of Marga Hindola would be Sa, Ri, Ga, Ma, Pa, Dha, DJi, Sa, s'a, M, Dha, Pa, Ma, Ga, Ri, Sa, This note structure is similar to the Bhairavi tnela of Tulaja under which he has classified his Hindola. This is also similar to the modern Asavari thata. Another mela that has been treated by Ahobala is Nata, under which he has included ragas Nata, Kumuda and Cakradhara. In the Nata raga (V.1+33) Ri is Tivratara, Ga Tivra, Dha Tivratara and Ni Tivra. In Avaroha Dha and Ga are dropped. The raurcchana of this raga is Ri-aurcchana. Now, according to Ahobala's Svara system, Tivratara Ri and Tivratara Dha are Suddha (i.e. Koraala) Ga and Suddha (i.e, Komala) Ni respectively. Accordingly the notes in this raga will be Sa, Ga, Ga, Ma, Pa, Ni, Ni, When this note Ri is absent, a doubt may arise how the raga could have a Ri Svara Murcchana. Since hov/ever, he has used the term Ri Tivratara in the description of the raga, he has stated its murcchana of Ri note. In South Indian music, it is conventional to call the same note by two different names with reference to its occurring in different ragas. A note may be Pancas'ruti Ri in one raga and it may be termed as Suddha Ga in another 31^ raga. The Aroha-Avaroha of the raga would be Sa, Ga, Ga, Ma, Pa, Ni, Ni, Sa, Sa, Ni, Pa, Ma, Ga, Sa. Locana Kavi and Hrdayanarayana Deva have classified Nata under Megha Samsthana/njela. The notes of Megha are Sa, Ri, Ga (Tivra- tara) Ma, Pa, Dha (Atitivratama), Ni (Tivratara). This is altogether different from Ahobala»s Nata. Srinivasa however follows Ahobala. Pimdarika Vit-yiala has given a raga Suddha Nata under a naela of the same nsone. Somanatha and Ranjamatya have given Suddha Nata and Saranganata respectively and the description of these ragas agrees with that of Ahobala»s Nata, Verikatamakhin includes Nata under Nata mela, whose notes are Sa, Ri (Satsruti), Ga (Antara), Ma, Pa, Dha (Satsruti), Ni (Kakali). Tulaja has given raga Suddhanata under Suddhanata mela, and the note structure is just similar to that of Ahobala's Nata. Out of the ancient musicologists, Matanga has not given this raga; there is however a raga Narta given by him, which was derived from the combination of Pancami and Madhyami Jatis, and belonged to Madhyama Grama. Nanyabhupala has given a raga Natta which is derived from Dhaivati Jati, Sarngadeva has mentioned an Adhunaprasiddha Bhasanga raga Natta, arising out of Hindola Raga, which has Sa as Graha, Amsa and Nyasa, with Ni and Dha as Mandra and Tara limits respectively, Ahobala's Nata resembles modern Hindustani Joga, Another raga dealt with by Ahobala under Nata mela is raga Kumuda (V,U-76). Its Graha is Ga, Ma is dropped in 31?

Aroha. The Aroha-Avaroha of the raga will be - Sa, Ga, Ga, Pa, Ni, Ni, Sa, Sa, Ni, Ni, Pa, Ma, Ga, G_a, Sa. One more raga of Nata mela given by Ahobala Is raga Cakradhara (V.l+77). It is a hexatonic one, dropping Pa al­ together. Sa is its Graha. Its Aroha-Avaroha would be Sa, GjL, Ga, Ma, Ni, Ni, Sa, Sa, Ni, NJ., Ma, Ga, Ga, Sa. The above two ragas seem to be peculiar to Ahobala's period, and have not been given by any other musicologists except Srinivasa, Incidentally it may be mentioned here that although Ahobala has given Ri Tivratara and Dha Tivratara as the notes of 'Nata mela which are in fact Ga and Ni respectively, the note expansion given under each of the above three ragas includes Ri and Dha. This seems exceptional, Sri raga (V.U-^5) raela is another mela finding place in Ahobala's list of melas. Under this mela, the following - / - _ — ,^ _ ragas have been included: Sriraga, Sorathi and Manjughosa, Srinivasa has also included Kedara-gaula under this mela, which has been dealt with by Ahobala under Gauri mela. In the description of Sri raga, it has been stated that it takes Tivra Gandhara and in Aroha it drops Ga and Dha. Its Graha, has been given as 'Ri-traya'. Some take Sa as its Graha. "iVc- te^rrvv "Ri-trayodgraha.." means "Ri is repeated thrice in the beginning." Kalinda has also given this explanation and the illustration given below the versa hh^ (Hathras Ed.) conforms to it. 316

Sri raga of Ahobala takes Tivra Ga. That means, all other notes are Suddha. (Suddha Mi will be Kornala Ni). The Aroha Avaroha of the raga will he Sa, Ri, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa, Locana Kavi and Hrdayanarayana Deva have included Sri raga under Karnata mela, notes where­ of are similar to Ahobala's Sri raga. In Hrdayakautuka of Hrdayanarayana Deva, the note pattern of the raga has been given as Ri, Ma, Pa, Ni, Sa, Sa, rJi, Dha, Pa, Ma, Ga, Ri, Ga, Ri, Sa. Sadragacandrodaya and Ragaraanjari of Pundarika Vitthala give Sri raga under Sri raga mela. In Ragamala he gives it as an independent raga. Veterans of South Indian music have described Sri raga in different ways. Ramaraatya and Venkataraakhin have included it under Sri ra-^ra mela with notes as Suddha Sa, Ma, Pa, Pancas/^ruti Ri and Dha, Sadharana Ga, and Kakali Ni. Soraanatha's Sri raga has practically similar notes, but it is either Sampurna or pentatonic, dropp­ ing Ga and Dha. Tulaja's Sri raga has a semblance with modern Hindustani Bhairava. Sri rsTga of Damodara is Sampurna, with Sa as its Graha, Amsa, and Nyasa. Sri raga has also found a place in ancient music. Sarngadeva has included it in Adhunaprasiddha Desi ragas. It is derived from Sadji Jati, has little use of Pa, and has Sa as its Graha, Amsa and Nyasa, and Ga and Ma as Mandra and Tara limits respectively. The description of this raga given by Nanyadeva is practically similar. He has however given a pentatonic variety of the raga with the absence of Ri and Pa. Matanga does not men­ tion this raga. 317

dri raga of the modern Hindustani music comes from Purvi thata. It drops Ga and Dha in Aroha. Avaroha is complete. Another raga included by Ahobala under Sri raga mela is Sorathi (V.^73). Ri is its Graha note. It is rich in the use of Huraphita grace. One variety is from Pa to Ri (having descent), and another is from Sa to Ma (having ascent). Sa is taken here in Agrasvasthana Gamaka. It also has Pa note. The Ri note in it is used with Cyavita Gamaka, Notes are all like those of Sri raga. Sorathi of Srinivasa is just similar. Locana Kavi and Hrdayanarayana Deva have given raga Soratha (and not Sorathi) under Karnata Samsthana/ mela. Pundarlka Vitthala has named his raga as Saurastri, In his Ragamemjari and Sadragacandrodaya he has given it under Karnata and Kedara melas respectively. In Ragamala, he has shown it as a Bharya of Natanarayana. Out of the South Indian musicologists, Ramamatya and Venkataraakhin have given raga Saurastra under Malavagaula and Gaula melas respectively, with notes practically similar. Somanatha has given raga Saurastri under Mallari mela. The notes given by him are different from the Saurastra of Ramamatya. Tulaja has in­ cluded Saurastri under Malavagauda mela which resembles modern Hindustani Bhairava thata. Damodara has given raga Sorati, as hexatonic one having dropped Ri, and Pa (Sa according to others) as its Graha, Amsa and Nyasa. Sarn'gadeva has given a Bhasa Saurastri under Grama-raga Takka. It has 318 • •

Sa as its Graha, Ams'a and Nyasa and has a inucb use of Ni. Sarngadeva has given another Saurastri which is somewhat similar to Sorati of Damodara. Nanyadeva's Saurastri is hexatonic, dropping Pa and has Sa as Amsa and strong Ni, Matanga also givefi Saurastri as a Bhasa of Takka,

In modern Hindustani music, there is a raga Soratha which belongs to Khamaja that a. It drops Ga and Dha in Aroha and takes all notes in Avaroha. It uses both forms of Ni, MarTjughosa (V,^79) is the third raga given by Ahobala under Sriraga mela. It drops Ga altogether, and Ni in Aroha. Dha is its Graha. Its Aroha-Avaroha will be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ri, Sa. Maiijughosa seems to be a peculiar raga of Ahobala's time, and no other / — _ musicologist except Srinivasa has given it. Another mela treated by Ahobala is Samanta, under which he has dealt with two ragas - Samanta and Karnatagaula, In Samanta ('V.'+^l) raga Ri is Tivratara, Ga is Tivra, and Sa is its Graha, Ams^'a and Nyasa. Here again Tivratara Ri is the same as Suddha (modern Komala) Ga, Other notes are normal. The Aroha-Avaroha would be - Sa, Ga, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ga, Sa. Ahobala, how­ ever gives Ri Tivratara as Ri and not as Ga, in the illus- trative note expansion of the raga. Srinivasa's description of the raga is similar. Locana Kavi and Hrdayan"arayana Deva have included Samanta under Saran'ga Samsthana/raela. Ttieir Saranga mela takes Ga AtitQ^ratama, which is Suddha Ma; Ma 319

Tivratara; and. Dha Tivratara wViich is Buddha (Komala) Ni; and Ni Tivratara. The notes of their Saranga will thus be Sa, Ri, Ma, Ma, Pa, Ni, Ni. This note structure is differ­ ent from Ahobala's Samanta. In Ragaraan'jari and Sadraga- candrodaya of Pundarika Vitthala, raga Samanta has been classified under Karnata mela. However, in his Ragamala, he has given it as a Putraraga of Hindola, Amongst the veterans of South Indian music the famous trio include Samanta under Samanta raela with note structure practically similar, which corresponds to modern Hindustani notes Sa, Ga, Ga, iMa, Pa, M, Ni. Only Tulaja has included Samanta under Sankarabharana mela whose notes correspond to modern Hindustani Khamaja thata. Raga Samanta seems to have developed in medieval period and does not find a mention in ancient music. In modern Hindustani music, there is a raga Samanta saranga, belonging to Kafi thata. It is a pentatonic variety, dropping Ga and Dha. It takes both forms of Ni. Another raga that can be included under Samanta raela is Karnata Gaula (V.^22 & 23). In fact, Ahobala has given Karnata Gaula along with other Gaula varieties and has not mentioned any mela from which it has been derived, Srinivasa has however specifically given it as 'Samanta- ' - derived from Samanta (mela). In Ahobala's Karnata Gaula, Ri is Tivratara (which is the same as Suddha i.e, modern Komala Ga); Ga is Tivra. Ga is Nyasa, and Ma Amsa, 320

Its Murcchana is the one starting from Sa. Pa is Apanyasa in Avaroha. Ahobala says that in the opinion of some, Dha is dropped in Aroha. Its Aroha-Avaroha vrill be - Sa, G_a, Ga, Ma, Pa, Dha, Ni, Sa (or Sa, G_a, Ga, Ma, Pa, Ni, S*a when Dha is dropped), Sa, Ni, Dha, Pa, Ma, Ga, Ga, Sa. The description of the raga given by Srinivasa is different from that of Ahobala. In his raga the murcchana is Abhi- rudgataT (Risvara). It drops Ga and Dha altogether. This is one variety. When it does not drop Ga and Dha, Ga is its Nyasa and Ma Amsa. In that case it drops Pa in Avaroha. Ahobala has not given any note as Apanyasa in the descrip­ tion of any other raga. The specific purpose in giving it in this raga alone is not apparent - particularly in its relation to Avaroha. If the term 'Pa-apanyasa-avarohaka' could be construed to raean dropping Pa in Avaroha* , it would carry some meaning, which would also be in tone with Srinivasa's description,

Locana Kavi and Hrdayanarayana Deva have not given this raga. Pundarika Vitthala has given a Karnatagauda raela in his Sadragacandrodaya. Out of the South Indian musico­ logists, Ramam^tya has given a raga Kannadagaula under Kannadagaula mela, whereas Venkatamakhin has given it under Sriraga mela. Sarngadeva has given Karnatagauda as an Adhunaprasuddha IJpan'ga raga. Apart from these Mela ragas, Ahobala has treated some more ragas for which he has not mentioned any mela. Taking 321 into account their note structure, at least some of them could have been classified under some of the raelas men­ tioned above. For some reason or other, he has not men­ tioned any raela for them. It is not possible to know whe­ ther the absence of the mention of mela under them was only incidental or deliberate. Such ragas treated by him are as under: Dhanas^rl (V. 358-59): This raga takes all Suddha notes (Suddha Ga and Ni are the Ga, Ni of the modern Kafi thata i.e. Komala), It is Sampurna, but drops Ri and Dha in Aroha. Ga is its Graha, and Ma Nyasa. Its Aroha-Avaroha will be Sa, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Ahobala has also mentioned a pentatonic as well as a hexatonic variety of DhanasVi, formed by dropping Ri and Dha, and Dha, respectively. Since this takes all Suddha notes, it could have been classified under Buddha Mela. But Ahobala has not given any classification for this raga. Srinivasa has given similar description of the raga. Locana Kavi and Hrdayanarayana Deva have Dhanas^'ri raga classified under Dhanas'ri raela. Their Dhanas'ri is quite different from that of Ahobala. It takes the following notes - Sa, Ri, Ga, Ma, Pa, Dha, Ni, This sounds like Purvi thata of modern Hin- dustani music, whereas Ahobala's Samnurna Dhanasri is like modern Kafi, and his Auduva Dhanas^'ri is like modern Dhani, Pundarika Vitthala has described Dhanas'ri differently in his three books. In his Ragamanjari he has given raga 322

Dbannasi under Malavakaisika raela; this Dhannasi has Sa as Graha, Amsa and Nyasa, drops Ri and Dha and Is sung in the morning. In Sadragacandrodaya, he gives the raga Dhanas'ri, under Sriragamela. In Ragamala, raga Dhannasi has been given as a Bharya of Raga Suddha Bhairava, Dhanas''ri has been mentioned by Damodara as a Bharya of Sriraga. In South Indian music a raga in the name Dhanasi has been men­ tioned. All the stalwarts of the South Indian music have classified it under Sriraga mala, which is akin to the .' —.- modern Hindustani Bhairava thata. Sarngadeva's is a Raganga under Gramaraga Suddhakaisikaraadhyama, It has Sa as Graha and Ams''a and Ma as Nyasa. It drops Ri and has little use of Ga and Pa. It is to be utilised in depicting Vira rasa. Dhanasri of the modern Hindustani music belongs to Kafi thata. It drops Ri and Dha in Aroha. Avaroha is com­ plete. Mallara (V.36O): This raga has the Murcchana start­ ing with Sa. Ga and Ni are dropped in this raga. The raga is particularly pleasing in the rainy season. In the description of this raga, Ahobala has used a term Sadjatraya^ samanvita. This means that Sadja repeated thrice is the Graha in this raga. The Aroha-Avaroha of the raga are Sa, Ri, Ha, Pa, Dha, Sa, Sa, Dha, Pa, Ma, Ri, Sa, Srinivasa's raga description is similar to that of Ahobala. Locana Kavi and Hrdayariarayana Deva have given the raga Mallara under 323 ^

Megha Samsthana/tnela. Notes of the raela are Sa, Ri, Ga (Tivratara) Ma, Pa, Dba (Atitivratama) i.e. Suddha (i.e. Komala Nisada), and Ni (Tivratara). It takes two forms of Ni, like modern Mallara. Pundarika Vitthala, in his Raga- manjari, has given this raga under Kedara raela. He has also given Persian equivalent of the raga as Bara. In his Sadragacandrodaya he has given the name of the raga as Mallari and has included it under Kedara raela. In his Ragamala, he has mentioned raga Mallara as a Putra raga of Natanarayana. Damodara has mentioned the raga Mallari as a wife of Megha. In his Mallari Sa, Pa are dropped. Dha is the Graha, Amsa and Wyasa and Pauravi is the Murcchana, The raga finds a place in South Indian music also, Ramamatya's Malh'ari is under Malavagauda mela; Sofflani.tha's Mallari is under Mallari mela; and Venkatamakhin's Malahari under Gaula mela. Notes of all these correspond to modern Hindustani Sa, Ri, Ga, Ma, Pa, Dha, Ni. Tulaja also classifies his Mallari under Malavagauda mela, but here Ri and Dha are Komala. Sarngadeva gives Malhara as an Adhunaprasiiddha Upanga of Andhali, Vibhasa of Gramaraga Pan'cama. Here Sa, Pa are Varjya, Dha is Graha Amsa and Nyasa, and the Mandra Tara limits are Ga and Ni respectively^ Nahyadeva's Mallara is more or less similar to Sarngadeva* s. Matanga too, describes Mallara similarly. It has been practically accepted by all that the raga is to be sung in Varsartu - rainy season. On account 32h of this particular feature, Ahobala and Srinivasa have also termed it as Megha. Megha (V.S^l) is not a different raga v/ith them, but another name for the same raga. Since it is to be sung in rainy season, no specific time is prescribed for it - it can be sung any time of the day. Megha has however been given as separate raga by some musicologists, Di-fflodara has given raga Megha, which has Dha as Graha, Amsa and Nyasa and has Uttarayata murcchana. Nanyadeva has given Megha as a separate raga, derived from Dhaivati Jati, hav­ ing Dha as Graha Am'sa and Nyasa, and Sa as the Tara limit. Matanga has also given Megha practically of similar des­ cription. It would appear that in the earlier concept of Mallara (or Megha), Dha was the important note. In later medieval- period Sa was the important note. The Malhara of the modern Hindustani music belongs to Kafi thata, takes Komala Ga and both varieties of Ni, Meghan)ala"ara is also from Kafi thata, a pentatonic variety of Malhara, dropping Ga and Dha.

RaKtahamsa (V.365) : This is a hexatonic raga dropp­ ing Ga altogether. In Aroha Ni is also dropped, and in Avaroha, Dha is dropped. Its murcchana is the one beginning with Sadja, Its Sroha-Avaroha are - Sa, Ri, Ma, Pa, Dha, Sa, Ni, Pa, Ma, Ri, 3a. Ni here is Buddha i.e. Komala in terms of modern music. Raga Raktaham'sa seens to be of old pattern, and representatives of the later medieval period 325

like Locana Kavi, Hrdayanarayana Deva, Pundarika Vitthala, Daojodara etc. have not given this raga. The rSga also does not find a place in Karnataka music. Sarngadeva, who was on the border of ancient and medieval periods, has mentioned it under Ragas. Kallin"atha has given the description of the raga as derived from Raktagandhari -Jati, having Dha as Ciraha, Arasa and Nyasa, being void of Ga, and having araple use of Taragandhara. Nanyadeva gives the raga as derived from Dhaivati Jati with Dha as Graha Aras'a and Nyasa, void of Ni, and having Ga and Ma as Tara and Mandra limits respectively, Matanga, who has given only Bhasa ragas, has not mentioned this. Pancama (V.369); It is a pentatonic raga, having dropped Ri and Pa. It has Tivra Ga. Sa is its Graha, and Ma Afflsa as well as Nyasa, It is really strange that the name of the raga is Pancaua, and Pancana note is absent here. Ni according to Ahobala's Kafi/mela as the Suddha raela, is Koraala. The Aroha-Avaroha will be Sa, Ga, Ma, Dha, Ni, 3a, Sa, Ni, Dha, Ma, Ga, 3a. This raga has a semblance with modern Hindustani of Khamaj Thata and Rages'ri, Srinlvasa's raga Pancama is like that of Ahobala, Locana Kavi and Hrdayanarayana Deva have given Raga Pancama under Gauri mela. Their Gauri mela is like modern Bhairava Thata. This Pancama is quite different from that of Ahobala. In the South Indian music, too, Panfcama belongs to Gaula/Malavagaula mela, whose note structure is similar to modern Bhairava 326

thata. Pundarika Vitthal.a's Pajncama is practically similar. In Damodara's PaffcaiDa, Pa is dropped, and it has Sadja Murcchana. He however speaks of Sarapurna Pancama also, Sarrigadeva has fflentioned Pancama as a Bhasa" Janaka raga arising out Suddha Gitl and belonging to Madhyaraa Grama, He has also mentioned two Bhasas Pancamalaksita and PaiTcami, under Gramaraga Takka. Nanyadeva gives one Raga Pancamalak­ sita, abounding in Tara Sa, Ga, Ma, Pa; void of Ri; v;ith less occurrence of Ga and more occurrence of Pa of the middle octave. Matanga has given a Shasa Pancama of Takka, In the modern Hindustani music ParTcaraa is a hexatonic raga belonging to Marava thata dropping Pa altogether and taking Komala Ri and both forms of Ma.

Vasanta (V.37O): This raga takes Ga and Ni Tivra, has the murcchana starting with Sa, and Ma as Nyasa. The note structure of this raga is similar to modern Bilavala thata. Its Aroha-Avaroha would be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Nl, Dha, Pa, Ma, Ga, Ri, Sa. Srinivasa's Vasanta is similar to Ahobala's. Locana Kavi and Hrdayanarayana Deva have classified the raga under Gauri mela, where Ri and Dha are Komala. So their Vasanta is different from that of Ahobala, and is nearer to modern Hindustani Basanta. Pundarika Vitthala in his Ragaman'jari, has classified the raga under Hindola mela. In his Ragam'ala, he has given it as a Putraraga of Hindola. Out of South Indian musicians, Somanatha has given this raga under Vasanta mela (equivalent 327 to modern Bhairava thata).Ranianjatya has given raf'5;a Suddha Basanta (and not Vasanta) under Sarariganata mala, Venkata- makhin and Tulaja have given their Suddha basanta under Sankarabharana raela. Daniodara has given Vasanta as a Bhirya raga of Sriraga, with Sadja as its Graha, Amsa and Nyasa and with Uttararaandra" raurcchana. The raga Vasanta seems to be a creation of medieval music and does not find a place in ancient music, Raga Basanta of modern Hindustani music belongs to Purvi thata which takes Koraala Ri and Dha and both varieties of Ma,

Pes a (V.371): This raga takes Tivratara Ri (= Suddha i.e. Komala Ga), Ga^ Tivra and Ni Tivra. It has Gandh'ara Murcchana. In Avaroha, it drops Dha and Ga, Its Aroha- Avaroha would be Sa, G_a, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, G^a, Sa. This sounds like modern Hindustani -Joga raga. Srinivasa gives a similar description of the raga. Locana Kavi and Hrdayan'arayana Deva have given a raga by name Desakha, under Megha mela. Daniodara has given Des'akhya as a Bhary'a raga of Hindola. It is a Sadava raga with Ri absent, Ga as Graha, Amsa and Nyasa, and viith Harinas'va murcchana. Out of the Southern musicologists, Raraamatya has given a raga Ardrade^i under Suddharamakriya mela. He has also given another raga Desaksi under Desaksi mela. Both are different from each other. Somanatha has given a raga Desi under Suddhararaakri mela. Venkatamakhin has given a raga Des'aksi 328 under Desaksi mela. All these are different from Ahobala's Des'a. Sarrigadeva has given Desa under 'Ragas' , and Des'akhya and Desi under Bhasa ragas. In modern music, there are two ragas, Des'a and Desakhya. Des^'a belongs to Kharaaj Thata and takes both forms of Ni, De^akhya belongs to Kafi thata, drops Dha and takes Komala Ga and Ni.

Desakarl (V.372): This takes Ga and Ni Tivra. Dha is its Amsa. Its Murcchana is Dha Murcchana i.e. its Graha is Dha, Its Aroha-Avaroha would be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Srlnivasa gives similar description of the raga. Locana Kavi and H, N, Deva included Desakari under Gauri mela whose notes are like modern Bhairava thata. Pundarika Vitthala, in his Raga- manjari, has given Des'ikara raga under Desikara mela with Sa as its Graha, Amsa and Nyasa. In his Ragamala, he has given it as a male (Purusa) raga. South Indian musicologists have given Raga Desakari. But Somanatha has given the alterna­ tive name as Suddha Raraakri under Suddhar'araakri mela. Damodara has included Des'skari as a 3harya of Raga Megha. His Desakari takes Sa as its Graha, Aras'a and Nyasa and Uttaramandra Murcchana. The raga does not find a place in ancient music, Desakara in modern Hindustani music is a pentatonic raga from Bil"avala thata, dropping Ma and Ni. 329

Bhupali (V,375): This is a pentatonic raga, dropping Ma and Ni. It takes Komala Ri and Dha. Ga is its Graha and AtDsa, and Pi Nyasa. Ga is Suddha i.e. Komala in terins of modern concept. The Aroha-Avaroha of the raga will be Sa, Ri, G_a, Pa, Dh_a, Sa, 3a, Dha, Pa, Ga, Ri, Sa. This sounds like modern Bhupali Todi, Srinivasa gives a similar descrip­ tion of the raga. Locana Kavi and Hrdayanarayana Deva give Bhup'ali under Kedara mela. Pundarika Vitthala, too, gives this raga under Kedara mela. However, in his Ragaraala, he gives it as a Bharya of raga Hindola. Out of the South Indian musicologists, Ramaraatya has given raga Bhup'ala under Sarafiganata mela, Somanatha under Mallara mela and Venkata- makhin under Bhupala mela. Tulaja however includes it under Bhinnasadja mela, whose notes are Sa, Ri, Ga, Ma, Pa, Dha, Ni, Daraodara has given it as a Bharya raga of Megha. This raga does not find a place in ancient music. The Raga Bhupala or Bhupa of the modern Hindustani music is a pentatonic raga coming under Kalyana thata dropp­ ing Ma and Ni.

Prasabha (V.376): This is a hexatonic raga dropping Pa. Its nmrcchana is the one starting with Sa i.e. its Graha is Sa. Its note structure has not been described, hence it has to be taken that it takes Suddha Ri, Ma and Dha, and Suddha i.e. Koraala Ga and Ni. Aroha-Avaroha will be Sa, Ri, Ga, Ma, Dha, NJ., Sa, Sa, Ni, Dha, Ma, Ga, Ri, Sa. This sounds like modern Hindustani Bages''ri, with Pa dropped. Except 330

Srinlvasa, no other tnusicologist of the medieval period seeras to have given the raga. The raga is also not found in South Indian music, ancient music or modern music, and seems to he peculiar to Ahobala's period only,

Vasanta Bhairava (V.379): This raga of Ahobala takes Komala Ri and Dha and Tivra Ga and Ni. Dha is its Graha, Aras'a and Nyasa. Ma as Amsa is also acceptable, says Ahobala. This is a Sampurna raga. Its Aroha-Avaroha are Sa, Ri, Ga, Ma, Pa, Dh_a, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, R_i, Sa. This is exactly similar to modern Bhairava. Raga Vasantabhairava has not been given by Srinivasa, Locana Kavi, H.N.Deva, Damodara and Pundarika Vitthala. In Karnataka music there is • • • • a raga Vasantabhairavi under Vasantabhairavl raela, with note structure corresponding to Hindustani Sa, Ri, Ga, Ma, Pa, Qh_a, Ni, The raga has also not been given by Sarngadeva, Nanyadeva, or Matanga, nor does it figure in modern Hindustani music, Madhyamadi (V.38O): This raga does not take Ga and Dha. Its murcchana is the one beginning with Ma, Ri, Ma and Ni are its Amsa notes. In the absence of any specification, Ni is o'uddha i.e. Komala. The Aroha-Avaroha are Sa, Ri, Ma, Pa, Ni, Sa, Sa, M, Pa, Ma, Ri, Sa. This is the same as modern Hindustani Madhyamadi (Madhmat) Saranga. Srinivasa has given similar Madhyamadi. Locana Kavi and Hrdayanarayana Deva have given Madhyamadi under Megha raela. Damodara has q^iven it as a Bharya of Bhairava raga. In Sadragacandrodaya, Pundarika has given it under Kedara raela. Out of. the South 331

Indian musicologists, Soraanatha has given it under Mallari mela. Raraamatya and Tulaja have given it under Sri-raga mela, Venkataraakhin does not seetn to have given this raga at all, Sarrigadeva has given it as an Adhunaprasiddha ragariga. Nanyadeva and Matanga do not seem to have given this raga,

Kollahasa (V,377): This is a hexatonic raga dropp­ ing Ma altogether. It has Gandharadimurcchana i.e. its Graha is Ga. It also drops Dha in Avaroha. Description of its notes has not been given. That means it takes all normal notes and none is modified. Its normal Ga and Ni are hov/- ever Koraala. The Aroha-Avaroha will be - Sa, Ri, G_a, Pa, Dha, Ni, Sa, Sa, Ni, Pa, G_a, Ri, Sa. Srinivasa gives similar Kollahasa. Locana Kavi, Hrdayanarayana Deva, Damodara and Pundarika Vitthala do not seem to have given this raga. The raga does not also find a place in Karnataka music. Sarngadeva has given Kollahasa under the 'Raga' variety. He has not given any description of this raga. Hov/ever, Kalli- natha has stated that the raga Kolhasa (Kollahasa) is derived from Naisadi and Dhaivati Jatis. It has Sa as its Graha, Ams^'a and Nyasa. It sparingly uses Ri and Dha. Sarrigadeva has given one Adhunaprasiddha ragariga by name Kol'ihala, but without description. He has also given one Kol'ahala as a Bhasa of Grainaraga Takka, which according to him is like Takka, but has all its notes in higher octave. Nanyabhupala has given a raga Kol'ahala, which is a Sadava variety dropping Pa. It has frequent use of Ma and is rich in Gamakas. 332

Matanga's Kol'ahala is void of Pa, has Sa as Graba and Myasa, has a resting on Ni and has 3a-Ma combination. It is a Bhasa of Takka,

Bhairava (V.378): It is a pentatonic raga, dropping Ri and Pa. It takes Ga and Ni Tivra, and Dha Koraala. Dha is its Graha and Ma Nyasa. Its Aroha, Avaroha are Sa, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Sa. Srinlvasa's Bhairava is similar. Locana Kavi and Hrdayan'ar'ayana Deva have given their Bhairava under Gauri mela, which is similar to the Bhairava of modern Hindustani music. Raga Bhairava of Damodara is a pentatonic one, dropping Ri and Pa, It has Dha murcchana, and also Dha as its Graha, Amsa and Nyasa. Its Dha is modified. Pundarika Vitthala in his RagamafTjari gives a raga Aparabhairava under Hijeja mela. In his Ragamala, he gives a raga Suddha Bhairava. Out of the South Indian musi­ cologists, only Somanatha gives a raga Bhairava under Bhairava mela, with notes practically similar to modern Hindustani Bhairava. Sarngadeva has given two ragas, Bhairava and Suddhabhairava. Raga Bhairava is derived from the Graraaraga Bhinnasadja. It drops Ri and Pa. It has Dha as Amsa and Ma as Nyasa. The rSga Suddha Bhairava, which is an Adhunapra- siddha Desi raga, takes Dha as its Graha, Amsa and Nyasa; Sadja and Gandhara are its Tara and Mandra limits respective­ ly. Nanyadeva and Matanga have not given this raga. The Bhairava raga of modern Hindustani music belongs to Bhairava thata with Ri and Dha Komala. 333

Barigall (V,38l): This raga is void of Ri and Dha. It takes Ma Tivratara and Ni Tivra. It has Sadjamurcchana, i.e. its Graha is Sa. Ga is Suddha i.e. Koraala. Its Aroha Avaroha would be Sa, Ga, Ma, Pa, Ni, Sa, Ni, Pa, Ma, G_a, Sa, Srinivasa has given a similar description of the raga, Locana Kavi and Hrdayanarayana Deva have not given this raga. Pundarika Vitthala in his RagaraarTjari has given raga Karnata^ .. •bang~ala under Gaudi mela, having Ri dropped, and Ga as Graha, Afflsa and Nyasa. He has given another Suddha- baiigala under Karnata mela. This raga is Sampurna and has Ni as Graha,Amsa and Nyasa. In his Sadragacandrodaya, he has given Baiigila under Malavagauda mela. In his Ragainala, he has given raga 3angala as a putra of Suddha Bhairava, and Suddha- barigala as a putra of Hindola. He has also given one more raga Karnata-ban gal a as a putra of Sriraga. Apparently, the varieties of Bang'ala mentioned by him have been treated by hira as derivative ragas. Out of the South Indian musico­ logists, Ramamatya, Venkatamakhin and Tulaja have dealt with a raga Kannada Bangala or Karnata Bangala under Malavagaula (Gaula) mela. Soraanatha too, has given Bangala under Malava- gauda mela. He has however given another raga, Suddhabangala under Karnata mela (alternatively called Karnatagaula mela). This one is different from the other four varieties of

Bangala of the Karnataka musicologists.

^•— . . — Sarngadeva has given a number of Bangala varieties. He has given two varieties of Bangala under 'Raga' form. Then 33^ he has mentioned a Bangiila as an Adhunaprasiddha Rag'anga, Then he has given a Bang'all as a Bhasa of Malavakaisika. He has further given one Karnatal .-barigala as an Adhunaprasiddha Bhasariga. One Bangala has been described by hira as arising out of Sadava Gramaraga, having Ma as its Graha, Arasa and Nyasa. Another Barigali, a Bhasa of Bhinnasadja has been described by hira as having Dha as its Graha,Arasa and Nyasa, Ga as Apanyasa and sdtiple use of Ri and Ma. The BhasanVa Karnata-bangala according to hira, is an off-shoot of Vegaraiiji Bhasa, dropping Pa and having Ga as Arasa and Sa as Nyasa. Out of the two 'Raga' varieties, the first Bangala has been given by hira as having arisen out of Sadjamadhyaraa Jati, It does not take Mandra notes, and has Sa as its Graha, Aras^'a and Nyasa. The second Bangala belongs to Madhyaraa Graraa and is derived from Kaisiki Jati, has Sa as its Graha, Amsa and Nyasa, and takes Tara and middle octave Pa. Barigali, the Bhasa of Malavakaisika, has been described by Kallinatha as having Ma as Aras'a and Graha and Sa as Nyasa, and having araple use of Ma.

Nanyabhupala has given a Bangala with description similar to that of the first Bangala of 'Raga' variety of Sarngadeva. Matanga too has given a similar description, Raga Barigali seems to belong to ancient music rather than medieval music. The raga was perhaDS present only theoretically in the days of Ahobala. In modern music, there is a raga Barigala in Karnataka music. In Hindustani music, there is a raga Barigala-bhairava, a hexatonic variety of Bhairava formed by dropping Ni, 335

Narayanl (V.332): This raga takes Ga and Nl Tivra, has GandharadiiDurcGhana, drops Ma and Ni in Aroha, and has Dha as its Nyasa and Ams''a. Its Aroha-Avaroha would be Sa, Ri, Ga, Pa, Dha, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Srinivasa has given this raga similarly. LocanaKavi, Hrdayanarayana Deva and Damodara, bave not given this raga. Pundarlka Vitthala, in his Ragamanjari has given Narayani under Kedara mela, a Sampurna raga with Ga as its Graha, An5s''a and Nyasa. In his other two books he has not given the raga at all. Amongst the veterans of South Indian music, Raraaraatya has given Narayani under Saranganata mela. Venkataraakhin and Tulaja have given it under Sankarabharana mela. The note structure of the raga as indicated by the three, is practi­ cally the same. Soraan'atha does not seem to have given this raga. The raga is also not found in ancient music. Narayani in modern Hindustani music, is a hexotonic raga of the KhatT3aja thata, dropping Ga altogether, and taking Komala Ni.

Bibhasa (V. 383): In Bibhasa of Ahobala, Ma is Tivratara, Ga and Ni are Tivra, and Ri and Dha are Komala, Its Nyasa is on Dha and it has Ga-murcchana. Ga and Pa are both Amsa notes. It drops Ma and Ni in Aroha, The Aroha- Avaroha would be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Srinivasa has given the raga similarly. Locana Kavi and Hrdayanarayana Deva have given the raga under Gauri mela which has Ri-Dha Komala, Ga-Ni Tivra and Ma Suddha. 336

Ma makes the difference between their Bibhasa and Ahobala's. Pundarika Vitthala in his Ragamanjari has given the raga under Des'lkara raela - a complete (or hexatonic, without Pa) raga, with Sa as its Graha, Arns''a and Nyasa. In his Ragaraala too, he has given it as a putra raga of Des'akara, In Sadragacandrodaya however, he has not given the raga. Bibhasa does not seem to have been given by the Karnataka Trio, Only Tulaja has given it under MiiLavagauda mela. The raga is obviously of a bit of later origin and does not find a place in ancient music, Bibhasa in modern Hindustani music is a pentatonic raga from Bhairava raela, dropping Ma and Ni and with both Ri and Dha Komala. Aroha of Ahobala's Bibhasa tallies with that of the modern raga.

Kanadi (V.38^): This raga takes Tivra Ga. In the absence of any other specification, all other notes in this raga are Suddha (Suddha Ni = Komala Ni). Its Graha, AmVa and Nyasa are Ma, Sa, and Dha respectively. The Aroha^ Avaroha of the raga would be, Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, 3a, Ni, Dha, Pa, Ma, Ga, Ri, Sa. This sounds like the modern Khatnaja thata. Srinivasa's Kanadi is similar. Locana Kavi and Hrdayanarayana Deva have given a raga Kanara - and not Kanadi - under Karnata mela. Damodara has given a raga Karnati as one of the five Bharyas of raga Dipaka. Pundarika Vitthala in Ragaraafi^Jari has given a raga Karnata under Karnata mela. In Sadragacandrodaya, ho has given it under Karnatagauda mela. In RagaraalaT, he has shown it as a 337

Putra of raga Suddhanata. Ramamatya has given a raga Kannada- gaula under Kannadagaula tuela. Somanatha has given a raga Karnata under Karnata tuela. Vefikatamakhin has given Kannada- gaula under Sri raga raela. Tulaja has given a raga Kannada under Kamboji (similar to Khamaja) mela. In modern Hindustani music, there is a raga Kanada i which is popularly known as , belonging to Asavari thata (Ga, Dha, Ni Koraala),

Meghan ad a (V,385): This is a hexatonic raga, dropp­ ing Ma. It takes Komala Ri. Its other notes are Suddha, (Suddha Ga and Ni = Koraala Ga & Ni). Sa is its Graha and Ri and Ga Ariisas. The Aroha-Avaroha of the raga will be Sa, Ri, GjL, Pa, Dha, Ni, Sa, s'a, M, Dha, Pa, G_a, Ri, Sa. This is just similar to the modern Hindustani raga Salakabarari. With the exception of Srinivasa, no other musicologist of the medieval period seems to have given this raga. The raga is also not found in Karnataka music, or ancient music.

Ghantaraga (V.389): This raga takes Komala Dha. In the absence of any specification, other notes are Suddha, (Suddha Ga and Ni = Komala Ga & Ni), Ga is its Graha and Ni Nyasa. Its Aroha-Avaroha are Sa, Ri,CT_a, Ma, Pa, Dh_a, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. These notes are akin to those of modern Hindustani Asavari thata. This raga too has not been given by any other musicologist of the medieval period except Srinivasa. Out of the South Indian musicologists, 338

Raniamatya has given a raga Ghantarava (and not Gbantaraga) under Kannadagaula mela, Tulaja has also given a raga Ghantarava, under Bhairavi laela, which is equivalent to modern Hindustani Asavari thata. Thus his Ghantarava is more or less similar to Ahobala»s Ghantaraga. There is a raga Ghantarava in the modern Karnataka music. Sarngadeva too has not given Ghantaraga but has given Ghantarava as a Purvaprasiddha raganga. This raga has Dha as Graha and Amsa and Ma as Nyasa. It is rich in the use of Mandra Ga and Tara Ni. It is derived from Bhinnasadja, Nahyadeva and Mataifga have not given this raga in their books.

Khambavati (V.398): In this raga Pa is dropped. Dha is Komala. Other notes, in the absence of mention 6therwise, are Suddha, (Suddha Ga and Ni = Komala Ga & Ni). It has Gaundhara murcchani. It drops Ri in Avaroha. Its Aroha- Avaroha would be Sa, Ri, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Sa, Srinivasa has given a similar description of the raga, Locana Kavi and Hrdayanarayaqa Deva have given the raga under Kedara mela, the notes where of are Sa, Ri, Ga (Tivratara) Ma, Pa, Dha and Ni (Tivratara), This is different from Ahobala* s Khambavati, Daniodara gives Khambavati as a Bharyaraga of Malavakausika - a Sadava raga having dropped Pa, with Dha as Graha, Ams'a and Nyasa and Pauravl murcchana. Pundarika Vit-J,hala has not given the raga in any of his books. The raga is also found absent in Karnataka music, as well as in ancient music, Sarngadeva 339 has however given one Khambhaiti, void of Pa and with a swing on Ma and Ni. Khambavati of Ahobala seems to be peculiar to later raedieval Hindustani music, Raga Khambavati of modern Hindustani music belongs to Khamaja thata, taking all Buddha notes and both varieties of Ni.

Ramakari (VAOl): This raga takes Ri and Dha Komala; Ga and Ni Tivra; and Ma Tivratara. It drops Ma and Ni in Aroha. Pa is its Amsa and its Murcchana is that of Dha, Its Aroha-Avaroha would be Sa, Ri, Ga, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. The note structure of this raga sounds somewhat like that of Purvi of modern Hindustani music. Srinivasa»s Ramakari is similar. LocanaKavi's 'Ramakali' and Hrdayanarayana Deva's 'Ramakari' hail from Gauri SatfJsthaJia/ mela whose notes are similar to modern Bhairava. Damodara has given it as a BharyaT of raga Hindola. Pundarika Vitthala in his Ragamaffjari gives Ramakali under Gaudi mela. In his Sadragacandrodaya he has given a raga 'Ramakri' under Malava^ gauda mela, whereas in his Ragaraala, he has given 'Ramakri' as a Bharya of Des'akara. The raga finds a mention in Karnataka music as Suddharamakri or Suddharamakriya, Only Soraanatha gives his Raga 'Ramakri' under Malavagauda mela - similar to modern Hindustani Bhairava. He has also given a raga Suddharamakri ( alternatively called by him as Desikara) under Suddharamakri mela. Ramamatya and Venkatamakhin have given their Suddharamakriya under a mela of the same name. 3^0

Tulaja has given this raga as SuddharaiDakri. The note struc­ ture of Suddharamakri of all these authors is the same, viz, Sa, Ri, Ga, Ma, Pa, Dha and Ni, which is similar to Ahobala's Ramakari. Sarrigadeva has given one Ramakrti as an Adhuna- prasiddha Kriyariga having Tara and Mandra limits upto Pa, with Sa as Graha, Arr'sa and Nyasa, and rich in the use of Sa and Ri, Matanga and Nanyadeva have not dealt with any raga of this name, Raga Raraakali of the modern Hindustani music is a Sampurna raga of Bhairava thata with Ri and Dha Komala and taking both forms of Ma and Ni,

Gunakri (V.^0^): This is a pentatonic raga dropping Ga and Ni. It takes Ri and Dha both Komala. Dha is its Graha. Sometimes it takes Ga. Its Aroha-Avaroha would be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Dha, Pa, Ma, Ri, Sa. Srinivasa's description of this raga is similar. Locana Kavi and Hrdayanarayana Deva have mentioned Raga Gunakari under Gauri mela, Damodara has given Gunakari as a Bharya of raga Malavakau^ika. Pund^arika Vittjiala in Ragamanjari has given raga 'Gunakari' under Gaudl mela. In Sadragacandrodaya he has not mentioned Gunakari or Gunakri but a raga Gondakrti, under Malavagauda mela. In his Ragamala, he has given 'Gunakari' as a Bharya of Sriraga. Shades of all his three ragas are the same. In the South Indian music, the raga is popularly known as Gundakri (Gundakriya-Gondakriya), and all 3^1

the veterans have classified it under Malavagauda (Gaula) mela. Sarrigadeva has not dealt with 'Gunakri raga', but he has given one 'Gaudakrti' as aii ' adhunaprasiddha' kriyariga. This Gaudakrti has Sa as its Graha, Amsa and Nyasa. Its Tara limit is Ma, and Mandra limit is Pa. It drops Ri and Dha, and is rich in the use of Ma and Pa. Raga Gunakari of modern Hindustani music belongs to Bhairava thata. It is a pentatonic variety since it drops Ga and Ni altogether. It is exactly similar to Ahobala's Gunakri,

r Ritigaula (V.!+25): This is a Sampurna raga having Dha murcchana. The description of notes has not been given. That means all notes are Suddha (Ga-Ni Suddha = Komala). It omits Pa in Avaroha. Its Nyasa and Amsa are Sa and Ri respectively, Its Aroha-Avaroha would be - Sa, Ri, G_a, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Ri, Sa. Srinivasa's Ritigaula is similar. Locana Kavi, Hrdayanarayana Deva, Damodara, a-M«A. Pundarika Vitthala have not given this raga. Ramamatya has given this raga under Ritigaula raela. Somanatha has given a raga Ritigauda under Ritigauda raela, notes whereof are equivalent to modern Hindustani Sa, Ri, Ri, Ma, Pa, Dha, Ni. Tulaja has given Ritigauda under Bhairavi mela, which is similar to modern Asavari thata. Sarngadeva, Nanyadeva and Matanga have not given the raga. Obviously, it is of later origin. 3V2

There is a raga Ritigauda in the modern Karnataka music, but not in Hindustani music,

Narayanagaula (VA26-27): Raga Narayanagaula takes Tivra Ga. It has either Ni or Ri as its Graha. In Avaroha it drops Dha and Ga. It takes Punahsvasthana Gamaka between Ri and Pa in Aroha. This Gamaka includes gliding over from Ri to Pa and coming book to Ri. It is also endowed with both varieties of Ahata Gamaka. Its Nyasa is on Ma. Apart from Tivragandhlra, details of other notes have not been given. Hence they are to be taken as Suddha. (Suddha Ni = Komala Ni). The Aroha-Avaroha v/ill be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa. This is something like a com­ bination of modern Khamaja (Aroha) and Sarariga (Avaroha). Srinlvasa has given a similar description of the raga. Locana Kavi, Hrdayanarayana Deva and Damodara have not dealt with this raga. Pundarika Vit'hala in Sadragacandrodaya has given a raga as Narayanagauda, under Kedara mela. Amongst the musicologists of the South Indian music, Ramaraatya has given the raga Narayanagaula under Kedaragaula mela. Somanatha has given Narayanagauda under Mallari mela. The notes of the above two melas are akin to the modern Hindustani Bilavala thata. Venkatamakhin and Tulaja have given it under Kambhoji mela, similar to modern Plindustani Khamaja. The raga seems to be of rather later origin and does not find a place in ancient music. 3^3

Desi (VA29): In this raga, Ri and Dha are Koraala, Obviously rest of the notes are l^uddha (Buddha Ga, Ni = Komala Ga, Ni), Ga and Ni are dropped in Aroha. Sa is its Graha and Ri Amsa. The Aroha-Avaroha will be Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Srinivasa gives a similar description of the raga. Locana Kavi and Hrdaya- narayapa Deva do not appear to have included this one in their list of ragas. Damodara has given Desi as a BharyaTof raga Dipaka. It is hexatonic dropping Pa; it takes Ri as its Graha, Amsa and Nyasa and has Kalopanata njurcchana. Pundarika Vitthala in his RagamaiTjari has given the raga under Desiksira mela, with description practically similar to that given by Dainodara. In his Sadragacandrodaya, he has given the raga under Suddharamakri mela and in his Ragamali. he has given it as a Bharya of Desikara. In South Indian music, Somanatha has given the vkga. under Suddhgtrasiakri mela. Ramajoaatya, Venkatamakhin and Tulaja do not seem to have given this raga. Sarrigadeva has given it as one of the Adhuna- prasiddha Desi ragas (ragangas), arising out of Grajnaraga Revagupta of Sadjagrsona, His Desi is Void of Pa, has Ri as Graha, AiDs''a and Nyasa, with Ga as Mandra limit and rich in the use of Sa, Ma and Ni, Raga Des'i of N^iyabhupala also drops Pa altogether, Dha is its Graha, Amsa and Nyasa, Ri is less used, Ga is the Tara and Mandra limits. Matanga gives similar description. Desi of modern Hindustani music belongs to Asavari thata and takes Koraala Ga and both forms of Dha and Ni, 3Mf

Kafflodaxiata (V,^37): This raga takes Tivra Ga. Other notes, in the absence of specification, are Suddha (Suddha Ni = Komala Ni). Dha is its Graha, Ma Amsa and Sa Nyasa. There is a Kampana (tremor) on all notes in the raga. Ga and Dha are dropped in Avaroha. The Iroha-Avaroha are Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Ri, Sa. This is some-what similar to the raga Narayanagaula described earlier. Srinivasa has not given this raga. Locana Kavi and Hrdaya- narayana Deva have given raga Kamoda under Karnat-a raela. Damodara has given a raga Kacnodi as a Bharya of Dipaka. It has Dha as its Graha, Amsa and Nyasa and has Pauravi mur- cchana. Pundarika Vitthala, in his RaeamaHjari and Sadra- gacandrodaya has given the raga Kamoda under Kamoda raela. In his Ragamala, he has given it as a Putraraga of Hindola, None of the musicologists of the Southern music have given either Kamodanata or Kamoda. Sarhgadeva has given two Raga varieties of Kamoda, Prathamakamoda and DvitiyakaiiJoda. The first one is derived from the SadjaiiJadhyaffla Jati of Sadja- grama. It has Tara Sa as Graha, Dha as Amsa and Sa as Nyasa, and has Ga as Tara and Mandra limits. The second one is derived from Sadji Jati of Sadja grama, and is having Sa as Graha, Amsa and Nyasa. Nanyadeva has given three varieties of K^oda; Kamoda I has Dha as Graha, Aras'a and Nyasa and Ga and Sa as Tara and Mandra limits respectively. KMJoda II (also called Laghu Kamoda), and Kamoda III are more or less similar in description respectively to the two Kamodas of Sarngadeva, 3^5

In modern Hindustani tiiusic, there is no Kamodanata, But there is a Kaffloda raga, belonging to Kalyana thata, tak­ ing both varieties of Ma.

Salaiiga (V,^!+^): In this raga, Ri and Ga are Komala and Tivra respectively. Other notes are usual i.e. Suddha (Ni Suddha = Komala). Its Graha, Amsa and Nyasa are Ga, Ma and Dha respectively. Tremor on all notes is the speciality of this raga. Its Aroha-Avaroha would be - Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, 3a. This sounds like modern Hindustani Ahirabhairava. ^rinivasa's description of the raga is similar. Locana Kavi, Hrdaya- narayana Deva, Damodara, and Pundarika Vitthala have not mentioned this raga in their books. Amongst the musico­ logists of the South Indian music, none has given raga Salanga as such. However, Somanatha has given one Salan- kanata under Mallari mela with all notes similar to modern Bilavala thata. RaiBamatya has not given Salanganata but Sarariganata. Venkatamakhin has given one SiuLanganata under Gaula mela, and another one, Salarigabhairavi under Sriraga mela. Tulaja has also given the above two ragas similarly. The raga does not find a place in ancient music. In modern Hindustani music, too, there is no raga as 'Salajiga*,

Saverl (V.^>+3): Raga Saveri takes Tivra Ga. It drops Mi altogether. It also drops Ga in Aroha. It has Dha as Graha and Ma as Amsa. Its Aroha-Avaroha would be Sa, Ri, Ma, 3^6

Pa, Dha, Sa, Sa, Dha, Pa, Ma, Ga, Rl, Sa. Saveri as a separate raga seems to have figured only in Ahobala - Srinivasa tradition. Other authors of medieval era have equated it with Asavarl. Sarrigadeva has given a raga Saveri as an Adhunaprasiddha Bhasan'ga under Raganti Bhasa of Gramaraga Kakubha. Nanyadeva also gives a raga Saveri. Saveri in modern Hindustani music is a raga from Bhairava thata. It drops Ga and Ni in Aroha. Avaroha is complete,

Blhigada (V.Mf7): In this raga, Ga and Ni are Tivra, It has Ga as its Graha and Ri as Nyasa and Ams''a. Ri is dropped in Aroha. If in this raga Pa will be taken as Graha, Ga will be dropped in Aroha. If it is sung in Madhyama murcchana i.e. having Ma as Graha,then the raga will be hexatonic, dropping Pa altogether. In view of this three­ fold nature of the raga, its Aroha-Avaroha will be different. With Ri dropped in Aroha, it will be, Sa, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. With Ga dropped in Aroha, it will be Sa, Ri, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. With Pa dropped altogether, it will be Sa, Ri, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Ri, Sa. Obviously, Raga Bihagada was sung in three different ways in Ahobala's time. Srinivasa has termed his raga as Vihangada, and has given only the first form of it (with Ri dropped in Aroha). Locana Kavi and Hrdayanarayana Deva have given their Bihagara under Kedara mela with notes 3^7

Just similar to those given by Ahobala for his raga. Pundarika Vitlhala has given the raga only in his book Ragaraala, as a Putra raga of Natanarayana. Out of the musicologists of South Indian rausic, only Soraan"atha has given the raga Vihangada under Hamrnira' mela. The terras Haramira and Bihangada are peculiar to Hindustani music, and the mention thereof by Soman'atha indicates that he had come in contact with Hindus­ tani music as well as musicians. The raga is apparently of later origin and does not find a place in ancient music. Raga Bihagada of the modern Hindustani music belongs to Bilavala thata and is a variety of .Bihaga, taking both forms of Ma and Ni.

Purvi Saranga (V.'+^Q): This raga tal<:es Komala Ri and Dha, Tivra Ga and Ni, and Tivratara Ma. It has Ri for its Graha, Ga Nyasa and Pa Amsa. The Aroha-Avaroha will be Sa, Ri, Ga, Ma, Pa, Dha, Ni, 3a, Sa, Ni, Dh_a, Pa, Ma, Ga, Ri, Sa. The note structure of this raga is somewhat similar to that of Raraakali (V.^01), and sounds like modern Purvi thata. The raga seems to be peculiar to Ahobala's time, and no other author of the medieval period including his contera- poraries like Hrdayanarayana Deva and Srinivasa, has men­ tioned it. This raga also does not find a place in ancient music, as well as contemporary Southern music. It however exists in the modern Hindustani music, belonging to Purvi triata, with note structure practically similar to that of Ahobala's Purvi Saranga. 3^8

Kudayl (V,^^^-5'5): In this raga Ga is Tivra. Other notes have not been specified, that means they are Suddha (Suddha Ni = Koraala Ni). Ga is its Graha and Pa Ams'a. In Aroha, it drops Ma and Ni, Its Aroha-Avaroha will be Sa, Ri, Ga, Pa, Dha, Sa, s'a, Ni, Dha, Pa, Ma, Ga, Ri, Sa. There is also a view that Ga is sometimes dropped in Avaroha. The phrase 'Dha-Ryoh-Anyatara, means • either of the tv/o notes Dha and Ri« , That means a composition in the raga would show a descent from either Dha or Ri (which must be obviously from Tara octave). Srinivasa, Locana Kavi and Hrdayanarayana Deva have not given this raga. Daiuodara gives his Kudayi as similar to his Desakhya which is hexatonic dropping Ri, and which has Ga as its Graha, Amsa and Nyasa, and has Harinas'va murcchana. Pundarlka Vitthala has not given the raga in any of his books. The raga also does not seem to find a place in South Indian music, nor in ancient music. It must have been a very unimportant raga of the medieval period, not be­ ing much countenanced by musicians and musicologists of the period. The mention of the raga in Ahobala's book may be only academic,

Gaunda (V.U-56): This raga takes Tivra Ga, smd other notes, in the absence of specification, Suddha (Suddha Ni = Koraala Ni). Sa is its Graha. In Aroha it drops Ga and Ni, Reduplication of notes is its speciality. Its Aroha-Avaroha are Sa, Ri, Ma, Pa, Dha, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. 3^9

Srinivasa gives a similar description of the raga. Locana Kavi and Hrdayanarayana Deva have not given Gaunda, but have mentioned Gauda under Gauri tnela. Pundarika Vittha].a in his Ragamarfjari has mentioned the raga Gaunda under Kedara mela - a Purna raga with Dha as its Graha, AcDs^'a and Nyasa. In his Sadragacandrodaya he has mentioned it as Gauda under Kedara raela. In his Ragamala he has given it as a Putra of Nata- narayana. In southern music, the raga Gaunda as such does not figure, but ragas under different names having some semblance with it, appear. Ramamatya gives a raga Gauli under Sriraga mela. Soraanatha gives raga gauda under Mallari mela. Venkatamakhin and Tulaja give raga Gaula under Gaula/ Malavagaula raela. The note structures are not similar. Sarngadeva mentions Gau^a as an adhunaprasiddha Desi raga (raganga). He also mentions other varieties of Gauda such as Desavalagauda, Turuskagauda etc. Further, he has given a Purvaprasiddha Bhasariga by name Goli. Manyabhupala has given a raga Golli, a pentatonic one having dropped Ga and Ni, strong in Tara Sa-Ri and having Dha as its graha, Amsa and NySsa.

Not Gaunda but Gauda, has figured in modern Karnatalta music, but not in Hindustani music,

Devagiri {Y,k^7): Raga Devagiri takes Tivra Ga and Ni and Tivratara Ma. It drops Ga and Dha in Avaroha. Its Murcchana is the one starting from Sa. Its Aroha-Avaroha 350

would be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Pa, Ma, Rl, Sa. Srinivasa's description of the raga is similar. Locana Kavi has not given this raga in any of his Sarasthanas, but he has mentioned in the list of Sankara (mixed) ragas, as a combination of Purvi, Suddha and Sarariga. Hrdayanarayana Deva does not appear to have given this raga. Damodara has given Devagiri as a Sampurna raga, with Sa as its Graha, Arasa and Nyasa and with Uttararaandra murcchan'a. Pundarika Vitthala has mentioned raga Devakri, under Devakri raela in -» - ~ '' Sadragacandrodaya, and as a Bharya of Suddhanata in his Ragamala. Somanatha mentions Devakri under Kambodi mela. Tulaja mentions under Karaboji mela. The difference between the two melas is of Mi (Kamboji takes Koraala Ni). Sarngadeva gives it as an Adhunaprasiddha Kriyanga. The raga does not appear to find a place in ancient music, Raga Devagiri of the modern Hindustani music is deriv­ ed from Bilavala thata - It is also termed as Devagiri Bilavala. It is a Sampurna raga taking both forms of Ni, DevagandtTari (V.1+58): In this raga Ga is the Graha and Sa, the Arasa. When Ri is the Graha, Ga is dropped in Aroha, The description of the notes occurring in this raga has not been given. It has however been stated that when Bhairava is Purna, it becomes Devagandhari. Raga Bhairava takes Tivra Ga and Ni and Koraala Dha. It is void of Ri and Pa, If Ri and Pa are taken in Bhairava, we get Devagandhari. Thus, the notes of Devagandhari would be, Sa, Ri, Ga, Ma, Pa, 351

Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Rl, Sa. This has a semblance with Raga Nat^abhairava of the modern Hindustani music. In case Ri is the Graha, Ga is dropped in Aroha, This has a relevance with the presentation of the raga. Srinivasa* s Devagandhari is similar. Locana Kavi and Hrdayanarayana Deva have given their Devagandhara under Gauri mela, which is the modern Hindustani 3hairava. Pundarika Vitthala in his RagamaiTjari has given Devagandhara under Miilavakausika mela, which has ekagatika Ri, Ga, Dha, Ni (each note taking one Sruti of its subsequent note). He has also given Persian equivalent of this raga - Rahayi. In his Sadragacandrodaya, he has given Devagandhara, under Malavagauda mela. In Ragaraala, Devagandhara has been given as a putra of the Sriraga. The raga finds a place in South Indian music too, Ramamatya gives his Devagandh'ari under Sriraga mela which takes Pancasruti Rl and Dha, Sadharana Ga, and Kaisika Ni. Somanatha too gives his Devagandhara under Malavagauda mela, which is similar to the modern Hindustani Bhairava. Verikatamakhin and Tulaja have given their Devagandhara under Sri-raga mela, v/ith a note structure more or less similar. The raga Devagandh'ara (or Devagandh'ari) has not figured in ancient music. Evidently, it has its origin in late medieval period.

Raga Devagandhara of the modern Hindustani music hails from Asavari thata, and takes Koraala Ga, Dha and Ni. Sparing use of Suddha Ga is also permissible. Raga Devagaindharl also 352 figures in modern Karnataka music,

Kuranga (V.^^0): In this raga Ri is Tivratara; Ma is Tivratara. Ga is Atitivratama; and Ni is Tivra. Now, Tivra- tara Ri is the same as Suddha Ga (Komala Ga in Ahobala's scale); and Atitivratan:ia Ga is the same as Buddha Ma, Hence the note structure of the raga is Sa, G^, Ma, Ma, Pa, Dha, Ni. Sa is the Graha and Nyasa and Pa the Ams''a, in this raga, Ahobala has included, in the illustration below the raga, the notes Ri and Ga which have to be construed in the light of the explanation given above, Srlnivasa has given this raga practically on the same lines. Locana Kavi, Hrdayanarayana Deva, Daraodara and Pundarika Vitthala have not piven this raga. Pundarika Vitthala has mentioned, in his Sadragacandrodaya, one raga by name Kuranji, under Malavagauda tuela. Ramamatya and Somanatha too, have given raga Kuranji under Malavagauda mela, Tulaja has given it under Sarikarabharana mela. Sarngadeva has given one GurufTji as a Purvaprasiddha TJpanga raga. All the above, have, however, no similarity either with each other or with raga Kuranga of Ahobala. It way be perhaps one of the unimportant ragas of Ahobala's time itself,

Saudiiroini (V.U^l): This is also one of such ragas, not known to the period earlier to Ahobala, and not widely known even during his period. It takes Ri and Dha KomaJ-a, Atitivratama Ga (which is the same as Suddha Ma), Tivratara Ma and Tivra Ni. Its Graha is Ga. The Aroha-Avaroha of this 353

raga would be Sa, Ri, Ma, Ma, Pa, Dba, Ni, Sa, Sa, Mi, Dha, > '' •- _ Pa, Ma, Ma, Ri, Sa. Except Srinivasa, the raga has not been given by any musicologist of the raeclieval period. The raga also does not figure in South Indian music or ancient music. It has not also come do\>m to the modern period in any form, Vaijayantl (V,U-62): In this raga the following notes are taken: Satsruti Ma, Koraala Dha, and Tivra Ni. Other notes are Suddha (Suddha Ga = Komala Ga). The term 'Sats'ruti' is only descriptive, and Satsruti Ma is nothing else but Tivratara Ma. Ri is the Graha of the raga. It is said that in the Aroha as well as Avaroha, the use of the notes Ga and Dha is only occasional, and not frequent. They are not al­ together dropped, but have to be taken only incidentally. The Aroha-Avaroha of the raga would be Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Cia, Ri, Sa. Srinivasa has given a similar raga. Locana Kavi and Hrdayanarayana Deva have not given Vaijayanti, but have given a raga Jayajayavanti (Jijavanti) under Karnata raela. Hrdayanarayana Deva has given his Jijavanti as having Ri as Graha and Pa as Ams^a, and has given the note pattern as Ri, Ma, Pa, Sa, S'a, Ni, Dha, Pa, Ma, Ri, Sa, Ni, Dha, Pa, Ni, Sa. Damodara has not given this raga. Pundarika Vitthala has also given a raga Jijavanti, (and not Vaijayanti) as a Putra of Suddhanata. In his Ragamanjari he has given a Persian equivalent of -Jijavanti as Hussalni. The raga Vaijayanti (or even Jijavanti) appears to be a Hindustani raga and has not 3^

figured in Karnataka music. Similarly the raga belongs to a late medieveO. period and does not find a place in ancient music. In the current Hindustani music, raga Vaijayanti has come from Kalyana thata - a pentatonic raga dropping Ga and Dha, and taking Tivra Ma.

Hamsa (V.'+GS): This raga takes Komala Ri and Dha and is void of Ga and Ni. Its Aroha-Avaroha would be Sa, M, Ma, Pa, Dh.a, Sa, Sa, Dh_a, Pa, Ma, Ri, Sa. This sounds like modern Hindustani Gunakari. This raga too seens to be peculiar to Ahobala - Srinivasa tradition and has not been mentioned by any other musicologist of the medieval period - either North Indian or South India. Sarngadeva has given a raga Hamsaka as a Pilrvaprasiddha raganga of the Gramaraga Bhinna- sadja, with Dha as Graha and Amsa and void of Sa. The raga has not figured in ancient music; nor has it come down to the modern daj^s in any form.

Jayasri (V.^65): This raga takes Komala Ri and Dha, Tivra Ga and Ni, and Tivratara Ma. Ni is its Graha. In Aroha, Ri and Dha are dropped. The Aroha-Avaroha would be - Sa, Ga, Ma, Pa, Ni, Sa, s'a, Ni, Dha, Pa, Ma, Ga, Ri, Sa, This is also one of such unimportant ragas prevalent during the period of Ahobala who included, it in his book presum­ ably out of academic interest. No other musicologist of either medieval or ancient period seems to have dealt with this raga. 155

Raga Jayasri has however figured in modern South Indian music, as arising out of Kirvanf mela.

Ratnavail (V.lf70): In this pentatonic raga Ri and Ni are absent. Ga is Tlvra and Ma Tivratara, It has Ga Murcchana and its nyasa is on Pa, The Aroha-Avaroha of the raga will be Sa, Ga, Ma, Pa, Dha, Sa, Sa, Dha, Pa, Ma, Ga, Sa. This raga has been dealt with by Srinivasa, but not by other authors of medieval age, such as Locana Kavi, Hrdayanarayana Deva, Difflodara, Pundarlka Vitthala etc. The raga does not find a place in Kamataka music. The raga has also not been mentioned by Sarrigadeva, Nanyabhupala, and Matariga. It has not also come down to modern age.

Kalpataru (VA71): In Raga Kalpataru, Ga is Tivra and Ri is Tivratara. Tivratara Ri is again s'uddha (i.e. Komala) Ga. It does not take Dha. Its Graha is Ri and Nyasa Sa. Ni is Suddha (i.e. Komala). The Aroha-Avaroha of this raga would be Sa, Ga, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Pa, Ma, Ga, G3, Sa. This sounds like the raga Joga of the modern Hin- dustani system. Srinivasa has given a similar description of the raga. No other musicologist of medieval age, including those of Karnataka music, seems to have dealt with this r^a. The raga also does find a mention in ancient music.

Suddhakaisika (V,l+88): In this raga, Ri and Pa are absent. Ni, Ga and Dha are Komala. Ma and Sa are the Amsa notes. Its murcchana is the one beginning with Ma, In the 356 description of this raga, Ahobala has mentioned Komala Ga and Ni. According to his theory, a note dropping its one ^ruti (and standing on its penultimate Sruti), becomes Komala, Here, the Komala Ga and Ni are the notes standing on 8th and 21st ^rutis respectively. These notes have been dtherwise termed as Tivra Ri and Tivra Dha, each one taking one ^ruti of its subsequent note. Thus Komala Ga is equal to Tivra Ri and Komala Ni is equal to Tivra Dha. Now the terms Tivra Ri and Tivra Dha have been dropped by Ahobala from consideration in connection with description of ragas (V,^97-^98). Hence the terms Komala Ga and Komala Ni have to be taken in the sense in which they have been given by Ahobala. When this is accepted, the Aroha-Avaroha of the raga will be Sa, Ga, Ma, Dha, Ni, Sa, Sa, Ni, Dha, Ma, Ga, Sa, This is something like the raga Malakamsa of current Hindustani music. None of the medieval authors including Srinivasa and musicologists of Karnataka music have given this raga. The raga seems peculiar to the ancient period. Saragadeva has given Suddhakaisika as a Gramaraga, arising out of the combination of Karmaravi and Kais'lki Jatis, Tara Sa is its Graha and AtDs"a, and Pa its nyasa. It takes Kakali Ni. It is embellished with Prasannanta alankara. It be- longs to Madhyamagrama and takes Sadjadi murcchana (Suddha- madhya). It-has to be used in depicting the Heroic, the Furious and the Marvellous sentiments. Matariga has given practically similar description of the raga, except that he 357 has given Prasannadi alanlkara in connection with this raga.

BhimapalasI (VA90): This Raga has Gandhlira murcchana. It takes Ga and Ni Komala. It drops Ri and Dha in ijroha. Ma is its AiSsa and Sa, Nyasa. Its Aroha-Avaroha would be Sa, Ga, Ma, Pa, Ni, Sa, Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa, This appears as similar to the raodern Hindustani Bhlmapalasi. Srinivasa has not given this raga. Locana Kavi and Hrdayanarayana Deva have given this raga as arising out of Kedara mela, which is altogether different from Ahobala's raga. DsuDodara, Pundarika and the musicologists of the Karnataka music, have not given this raga. The raga is apparently of later origin, and does not figure in ancient music. In modern Hindustani music, comes from Kafi thata taking Komala Ga and Ni. With this ends the treatment of Ragas by Ahobala. According to him, Ragas are innumerable; but he has dealt with only one hundred and twentyfive. Why has he selected only one hundred and twentyfive ragas? He has given the reason - 'Lokasukhaya' - for the sake of satisfaction of the people. However, this is not convincing. Selection of some more or some less number of ragas would have equally been for the satisfaction of the people. The number one hundred and twenty- five seems to have been arbitrarily taken. Ragas treated by him were all Deli ragas and their field was very wide. To treat them all would have been a very huge task and would also have increased the size of his book beyond consideration. 358

To avoid this, be bad necessarily to lltnlt bis scope to certain few ragas of representative cbaracter, and thus be fixed the number to one hundred and twentyfive. At the end of this section, he has laid down certain considerations v/hich prompt- ed him to select these ragas. Firstly, out of the twentytwo modified notes accepted by him, he has utilised only few such notes for the description of bis ragas; be has therefore taken into account only such ragas which have been described in terms of such notes. Another consideration for selection of these ragas was their importance and popularity in relation to the tunes of particular regions. This consideration also laid down restriction on his choice. On actual counting, the number of the ragas dealt with in this chapter works upto one hundred and twenty two and not one hundred and twentyfive. The latter number seems to have been arrived at as follows. In the description of raga Dhanasri (V, 350-59)? he has mentioned three varieties - Sampurn_a, Sadava and Auduva. These have been counted as three. Thus here there is an addition of two more ragas. Further, at the end of Raga. Dipaka (V.'+12) there is a men­ tion of Raga PatamaKjari, in the words "this is Patamarfjari - to be sung in the third part of the day". The raga has not actually been given, but has been counted in the number of ragas dealt with. (Dipaka 5^+? PatamaHjari ^5)- Thus, there is one more addition. With the addition of these three (two from DhanasVi and one on account of Pataraanjari) the number 359

has been made upto one hundred and twentyfive. In Calcutta edition of Sangitaparijata, however, there is a mention of total number of one hundred twentytwo ragas including the addition of two Dhan'asris and one PatamanTjari, It is observed that the ragas, Suddhakaisika, Taila.nga and Bhimapalasi described in verses ^88, ^89 and ^90 respectively of the Hathras edition, have not been given in the Calcutta edition. The total number of verses in the Hathras edition is 500, whereas that in the Calcutta edition it Is ^97. Srinivasa, who has modelled his Ragatattvavibodha on Ahobala's Sangita- parijata has also not dealt with the above three ragas in his book. In view of this, a doubt arises whether the three verses dealing with the three ragas have been interpolated at a later stage in the main text of Sangitapari jata. The three verses concerned could not have been dropped inadevertently in the Calcutta edition, since the number of ragas dealt with has been specifically given there as one hundred and twentytwo. It is not clear what manuscripts were the bases of the Calcutta and the Hathras editions. The B.C.H.I,ras. contain s only twenty folios and is incomplete. In the absence of further folios in continuation, no information throwing useful light on this discrepancy is available from that ms. And in the absence of any such information coming from any corner, the discrepancy in the two editions cannot be satisfactorily explained. No contemporary or subsequent evidence is forthcoming to show that the three verses in the Hathras edition are interpolations, 360

and even if they are to be treated as interpolations, it is not possible to find out, at what stage the verses were in­ serted in the text of the main book, A study of the raga chapter of Sangitaparijata re­ veals certain aspects which deserve careful consideration. We have already seen in the earlier pages, that Ahobala has defined the term 'Mela', and has thus accepted the existence of the fflela system of classification of ragas in his time. He has not however described any melas anywhere by giving their note structure and other peculiarities. He has not also given any regular classification of ragas according to melas. He has however mentioned some ragas - about 80 - as arising out of certain melas. Another aspect that comes out is that in respect of certain ragas, numbering about 3^j Ahobala has mentioned their murcchanas. In these ragas, the Graha is not given, which would mean that the starting note of the murcchana is the Graha, He has also mentioned Atns'a and Nyasa in many of the ragas treated by him. Wherever he has not given Ams'a and/or Nyasa, the note Sa is to be understood as the Am's^'a and/or Nyasa (first half of the verse 3^6 - Hathras ed,). In the days of Ahobala music was reduced to only one Grama, i,e, Sadjagrama. One would therefore expect that every raga would begin with the note Sa only and no other note, Ahobala has however given different notes as Graha and Nyasa of the ragas, obviously in keeping with the traditional practice. 361

Presumably the modern concept of 'Sa* being the tonic was not firmly rooted in the musical practice of his time. It is further observed that in respect of certain ragas, Ahobala has given both the murcchana and the raela. In such cases it has to be presumed that the mention of murcchana by Ahobala in his raga description served the only purpose of indicating the starting note from which the Aroha of the raga begins. The starting note of the raga has however been indicat­ ed by Ahobala in different terms, such as, Sadi-starting with Sa note (V.1+06), Udgrahagahdhara - starting with Ga note (V.lfSO), Dhaivatograha - Dha being its Graha (V,373), Gaidharadika^ murcchana - having the murcchana starting with Ga (V,377), Rajani-murcchai^ukta - having Rajani murcchana (that starts with Ni note) (V.lf20),etc. Incidentally it may be mentioned that the starting note indicated by these terms is not seen as the note at the beginning of Prastara of certain ragas, viz, Vasantbhairava (V,379), Naxayani (V,382), , ' . . . Rajadhanr (V,lf86) and Bhimapalasi (V.^90). These few cases might be due to the scribal errors in copying the Prastaras, However, conclusive evidence in the form of manuscript authority would be needed to throw more light on this issue. The study of Ahobala*s raga treatment further reveals that he had the opportunity of coming in contact with South Indian music and musicians. He had certain ragas common with those in South Indian music, and the description of certain ragas was exactly identical. We may take the instance of 362

/> Mukhari. Mukhari, the basic or Suddha scale of the South Indian music takes the following notes which in terms of Hindustani equivalents are Sa, Ri, Ri, Ma, Pa, Dh_a, Dha, Ahobala has described his Mukhari exactly on similar lines. Another instance where Ahobala's description agrees with that of South Indian musicians like Raraatnatya or Sotnanatha, is that of Raga Nata (V.i+33). Raga Siraharava (V,^78) is also an in­ stance of Ahobala's contact with South Indian music. The raga is an innovation of Venkataraakhin, and Ahobala has obviously taken the raga from him, although the description of his Siraharava is entirely different from that of Venkatamakhin, It had been the practice of some musicologists - earlier as well as those belonging to medieval age - to men­ tion, along with the description, tVie particular sentiment or rasa generally depicted by the raga. Ahobala has not given this information, in any of his raga description. In the vast expanse of his book, he has squared up the rasa theory only in three verses viz. U-93? ^+9^ and ^9^ (Hathras ed.). In this cryptic description of the rasa theory, he has taken the aid of the Sruti-Jatis, viz, Dipta, Mrdu, Ayata, Karuna and Madhya. These Jatis are constituted of certain Srutis, According to Ahobala's statements, the Sruti Jatis and the Srutis constituting them, in relation to the rasa depicted by them, are as under: 363

£S.Ti.:. •,"

Rasa (Sentiment) Sruti Jati ^rutis reDresented in it

i) Vira (The Heroic) ii) Adbhuta (The Dipta Tivra, Raudri, Marvellous) Vajrika and Ugra" iii) Raudra (The Furious)

iv) Srrigara (The Mrdu Manda, Ratika, Erotic) Priti and K§iti

v) Hasya (The Ayata Kuffludvati, Krodha^ Comic) Prasarinij_ Sandipani, and Rohini

vi) Karuna (The Dayavati, Alapini, Pathetic) Madanti vii) Bibhatsa (The Odious) Karuna viii) Bhayanaka (The Terrible) Chandoyati, Ranjani, Marjani, Rakta, ix) Srngara (The RaiTiya and Ksobhini Erotic) Madhya x) Hasya (The Coraic)

Srngara is depicted by Mrdu as well as by Madhya, According to Kalinda, the Sri(ngara depicted by Mrdu Jati con­ tains the element of fulfilment (Sambhoga i.e. union) and the one depicted by Madhya contains the element of futility (Vipralambha i.e. separation). Similarly, he says that the 3b^

Hasya rasa depicted by Ayata contains open expression and the one depicted by Madhya contains covert expression. According to Ahobala's theory, there is no difference between Srutis and Svaras. The Svaras denoted by the parti- cular srutis contained in the particular Sruti Jati are instrumental to the depiction of the particular sentiment. The depiction of a particular sentiment in a raga, depends upon the related notes being its Graha, Amsa and Nyasa, This is all that he has said about the relationship of the raga and the sentiment. This is too general a statement to give a clear idea of the raga-rasa relationship. Obviously, Ahobala does not appear to be very particular about it and has dealt with the topic of rasa just casually, Ahobala has mentioned the time of singing of the ragas. He has classified ragas into five time categories, viz, ragas to be sung in the (i) morning, (ii) first part of the day, (iii) second part of the day, (iv) third part of the day, and (v) to be sung all times. This is a broad cate­ gorisation based on practice and convention and does not appear to have any theoretical basis. Most of the time theories propagated by other musicologists are similarly arbitrary and based on broad general consideration and not a scientific one. An attempt towards systematic classification of ragas according to time theory was made in modern days by V, N. Bhatkhande. Incidentally it may be stated that the con­ cept of the time theory of ragas is not static and is subject to change according as days pass by.